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ILLUSTRATION 
IN  ADVERTISING 


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"MsQraw^^ill  Book  (h  Jne 

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ILLUSTRATION 

IN 

ADVERTISING 


BY 

W.  LIVINGSTON  LARNED 

Vice  President  and  Art  Director  in  Chief  of  the  Ethridge  Company. 


First  Edition 
Second  Impression 


McGRAW-HILL  BOOK  COMPANY,  Inc. 
NEW  YORK:  370  SEVENTH  AVENUE 

LONDON:  6  &  8  BOUVERIE  ST.,  E.  C.  4 

1925 


Copyright,  1925,  by  the 
McGraw-Hill  Book  Company-,  Inc. 


PRINTED   IN   THE    UNITED    STATES    OF   AMEHICA 


THE    MAPLE    PRESS   COMPANY,    YORK,    PA. 


If  l^^-l 


PREFACE 

This  book  is  intended  as  a  helpfully  constructive  treatise  on 
the  use  of  Art  to  increase  the  effectiveness  of  Advertising.  It 
will  be  of  special  interest  to  the  advertising  manager,  the  adver- 
tising copy-writer  and  the  artist,  as  well  as  to  business  executives 
who  direct  their  own  advertising  campaigns. 

Art  in  advertising  cannot  be  separated  from  advertising  copy 
nor  from  the  advertising  problem,  as  a  whole.  In  the  present 
book,  an  attempt  is  made  to  consider  advertising  illustrations 
in  their  relation  to  copy,  to  the  product,  to  the  market  and  to 
the  psychology  of  the  consuming  public. 

While  the  author  has  spent  a  life-time  in  this  one  field,  he 
cannot  claim  a  completely  authoritative  knowledge  of  the 
science  of  advertising  illustration.  Opinions  still  differ  widely 
as  to  what  is  good  and  what  is  bad  and,  consequently,  the  per- 
sonal viewpoint  is  inevitable. 

Certain  fundamentals  there  are,  however,  which  can,  and 
should  be,  looked  upon  as  almost  inflexible,  and  no  apologies  are 
here  made  for  such  emphasis  as  has  been  placed  upon  them. 
They  are  the  children  of  experience. 

The  book  discusses  advertising  illustration  as  it  is  reflected 
in  magazines  and  newspapers.  Outdoor  advertising  art,  direct- 
mail  and  trade-periodical  problems  are  not  included  because 
these  fields  present  special  problems  beyond  the  immediate 
scope  of  this  volume. 

The  very  fact  that  advertisements  and  illustrations  from 
advertisements  segregated  from  their  text,  are  reproduced,  is 
sufficient  evidence  of  their  merit.  They  were  selected  for  show- 
ing here,  because  they  represented  striking  examples  of  the 
most  modern,  the  most  effective.  Each,  in  itself,  is  an  ''acknowl- 
edgement," to  the  finn  or  the  person  sponsoring  it. 


VI  PREFACE 

There  has  been  no  previous  attempt,  to  our  knowledge,  to 
present,  in  book  form,  a  practical,  working  resume  of  demands 
and  fundamentals  of  modern  advertising  art.  It  is  believed  that 
the  facts  herein  given  will  be  of  a  helpful  character. 

W.  Livingston  Larned. 
New  York, 
January,  1925. 


CONTENTS 


Preface , 


Pagh 
V 


Chapter 

I.  Introduction *■ 

II.  Preliminary  Sketches ^ 

III.  Significance  of  Composition 12 

IV.  Selecting  the  Illustrative  Theme 21 

V.  Adapting  the  Art  Medium 26 

VI.  Continuity ^'* 

VII.  Distinctive  Technique  for  Serialization 43 

VIII.  Directing  the  Eye ^^ 

IX.  The  Illustration  as  the  Advertisement 64 

X.  Illustrative  Borders  and  Mortises 72 

XI.  Display  Counter  Ideas 83 

Xll.  Importance  of  White  Areas 91 

XIII.  Strategic  Use  of  Black  Areas 101 


XIV.  The  Angle  of  Perspective. 


109 


XV.  The  Product  in  Heroic  Size 120 

XVI.  Outline  Technique 128 

XVII.  Glorifying  the  Homely  Product 136 

XVIII.  Atmospheric  Backgrounds 1"*^ 

XIX.  Vignettes ^^3 

XX.  Bringing  Trade  Marks  to  Life 159 

XXI.  Animating  the  Inanimate 1^8 

XXII.  The  Attention-compelling  Theme 1'6 

XXIII.  Suggesting  the  Product  by  Inference 185 

XXIV.  Negative  Illustrations 192 

XXV.  Poster  Value  in  the  Picture 201 

XXVI.  When  the  Product  Dominates 209 

XXVII.  Melodramatic  Action 215 

XXVIII.  Character  Study .224 

XXIX.  The  Human  Interest  Illustration 233 

XXX.  Distinctiveness  in  Pen  Drawings 242 

XXXI.  Applications  op  the  Woodcut  Technique 255 

XXXII.  Half-tone  Subjects  Interpreted  IN  Line 67 

XXXIII.  Illustrations  in  Pencil,  Crayon  and  Drybrush   .       .   272 

XXXIV.  Mechanical  Shading  Methods 282 

XXXV.  The  Humorous  Motif 291 

XXXVI.  History  as  the  Subject  Material 299 

XXXVI  .  The  Photographic  Illustration 


309 


Index ^^^ 


vu 


ILLUSTRATION  IN 
ADVERTISING 

CHAPTER    I 
INTRODUCTION 

Advertisers  are  periodically  called  upon  to  decide  whether  or 
not  their  campaigns  shall  be  illustrated.  The  most  ardent 
supporters  of  pictures  in  advertising  will  admit  that  occasions 
arise  and  peculiar  conditions  develop,  which  call  for  all-type  dis- 
play. To  use  illustrations  for  the  sake  of  "having  pictures  in  the 
advertisement"  is  a  false  premise  and  folly.  Why  then,  are 
embellishments  employed  at  all?  What  functions  are  obligatory? 
What  useful  selling  purpose  is  achieved? 

Every  stroke  of  the  pen,  eveiy  mark  of  the  brush,  every  artifice 
of  the  studio  should  be  employed  only  as  a  commercial  asset. 
Advertising  is  at  its  lowest  ebb  when  it  becomes  a  colorful  luxury. 
The  growth  of  advertising,  phenomenal  and  spectacular  as  it  has 
been,  is  interlocked  with  the  constructive  things  which  it  has 
really  accomplished.  The  most  beautiful  canvas  by  the  most 
accomplished  painter,  inexpertly  applied,  may  be  a  detriment 
rather  than  a  force  to  keep  factory  wheels  humming. 

What  has  brought  about  the  changed  attitude  of  the  advertiser 
himself,  generally  a  hard-headed  builder  of  business  empire,  as 
regards  the  pictorial  backdrop  of  his  messages  to  the  public? 
Time  was,  when  sketches  were  a  thorn  in  his  flesh;  a  fifty-dollar 
expenditure  for  a  single  illustration  was  deemed  mad  extrava- 
gance. In  this  generation,  thousands  of  dollars  are  freely 
expended — and  no  questions  asked.  If  there  is  one  thing  more 
emphatically  true  of  modern  advertising,  than  another,  it  is  the 
steady,  improvement  of  the  quality  of  its  embellishments. 

Art,  in  proportion  to  its  merit — and  by  this  is  meant  its  logical 
application  to  the  specific  selling  problem — has  proved  highly 
successful.  There  are  too  many  illuminative  signposts  along 
the  way,  for  even  the  most  unimaginative  manufacturer  to  doubt 

1 


2  ILLUSTRATION  IN  ADVERTISING 

the  expediency  of  pictures  as  a  quite  logical  essential  of  the 
average  campaign. 

The  value  of  white  space  is  regulated  by  what  is  put  into  it. 
The  page  of  the  periodical  is  an  empty  vessel,  until  hard  work 
coupled  with  genius,  sets  it  aflame  with  reader  interest.  The 
progress  of  trade  journals  has,  until  recently,  been  retarded  by  the 
old-fashioned  idea  that  because  the  space  was  moderate  in  cost, 
the  quality  of  its  contents  need  not  rise  above  a  restrained  level. 

Briefly  put,  the  several  objectives  of  illustrations  in  advertis- 
ing are  as  follows: 

1.  To  visualize  the  product,  that  an  advertisement  may  become  a  show 
case,  a  counter,  a  store  shelf. 

2.  To  picturize  the  story  of  a  service  performed,  its  pleasures,  its 
convenience,  its  profit,  its  utilitarian  advantages. 

3.  To  whet  a  desire  for  the  product,  either  through  a  reflection  of  service 
or  through  the  beauty  of  appearance. 

4.  To  provide  essential  "atmosphere."  Products  and  projects,  in  them- 
selves rather  commonplace  or  uninspiring,  maj'  be  made  to  take  on  unex- 
pected aristocracy. 

5.  To  implant,  in  the  public  mind,  a  consciousness  that  one  product  of  a 
class  is  superior  to  all  others.  And  here  again  "atmosphere"  is  the  chief 
ingredient. 

6.  To  "humanize"  the  inanimate.  Certain  advertised  articles  seem  to 
demand  this  artificial  stimulus. 

7.  To  demonstrate  an  argument  or  a  service  visually  where  words  might 
fail,  when  unaccompanied  by  illustrations  or  by  diagrams. 

8.  To  create  that  impelling  desire  on  the  part  of  the  prospect  to  read  the 
advertising  message,  which  is  inherent  in  all  art.  Art  embellishment  is  to 
advertising  what  stage  scenery  and  costumes  are  to  drama. 

9.  To  individualize  one  campaign  from  another — a  growing  necessity 
where  products  are  widely  duplicated  and  as  widely  advertised. 

10.  To  familiarize  people  with  packages,  containers,  the  phj-sical  appear- 
ance of  the  thing  advertised  that  there  may  be  no  consequent  confusion. 

11.  To  bring  home,  as  words  could  never  hope  to  do,  the  magnitude, 
traditions,  and  institutional  functioning  of  an  enterprise. 

12.  To  make  the  tie-up  more  complete  between  the  point  of  final  buyer 
contact  and  the  advertising  which  has  aroused  a  desire  to  purchase. 

13.  To  supply  continuity,  thereby  solidifying  and  unifying  a  progressive 
series  of  advertisements. 

14.  To  put  the  prospect  in  a  more  receptive  mental  frame  of  mind,  due, 
in  part  at  least,  to  skilful  play  upon  emotions. 

15.  To  dramatize  the  undramatic. 

16.  To  influence  the  dealer — the  seller  of  the  goods,  whose  interest,  collab- 
oration, and  enthusiasm  are  absolutely  indispensable. 

17.  To  make  mechanical  problems  easier  of  understanding. 

18.  To  provide  a  "safey  catch"  for  the  careless,  indifferent  eye,  not 
inclined  to  read  text. 


INTRODUCTION  3 

These  are  the  obvious  reasons  why  art  is  employed  in  advertis- 
ing, and  each  has  its  scries  of  complex  ramifications.     An  adver- 
tising campaign  cmi)loys  one  or  many,  as  fits  the  particular  case 
The  objective  of  the  advertising  must  be  shrewdly  analyzed 
before  any  decision  can  be  made. 

The  contention  is  advanced  that  there  are  innumerable  weak- 
nesses in  the  popular  conception  that  "illustrations  are  set  to 
work  in  advertising  fundamentally  to  catch  the  eye  of  the  reader." 
This  would  imply  that  the  artist's  share  in  the  proceedings  is  no 
more  dignified  than  that  of  a  flashy  banner  in  front  of  the  big 
show,  and  the  artist  only  a  casual  ballyhoo  man,  whose  usefulness 
ends  when  he  has  caused  his  public  to  begin  reading  the  type. 
The  viewpoint  is  both  unfair  and  untrue.  Commercial  art  is  as 
much  a  substantial  part  of  the  basic  selling  idea  as  the  most  per- 
suasive text.  It  most  completely  and  satisfactorily  justifies 
itself  when  it  merges  with  the  fabric  of  the  copy. 

Illustrations  which  are  mere  "eye-catchers"  are  transitory  in 
their  results  and  quite  ephemeral.  Their  service  to  the  campaign 
should  be  far  more  substantial  and  business-like,  and  the  apology 
made  in  favor  of  such  devices  loses  caste  when  it  is  repeatedly 
demonstrated  that  an  illustration  may  function  doubly,  as  a 
selling  argument  and  as  a  red  flag  on  the  optical  highway. 
So  slight  a  theme  as  a  border  may  be  made  to  do  its  commercial 
bit.  An  ornamental  initial  letter  may  well  justify  the  space  it 
occupies. 

When  is  an  advertiser  to  determine  whether  his  campaign 
should  be  illustrated?  The  deciding  factors  are  as  diversified 
as  advertising  itself.  A  manufacturer  of  automobiles,  who 
advertised  in  great  national  weekly,  was  aware  of  certain  obvious 
facts.  Virtually  every  other  make  of  car  was  being  advertised 
in  the  publication  and  the  visual  competition  was  severe.  Pic- 
torially,  the  competitive  campaigns  were  notable  for  the  excel- 
lence of  their  illustrations.  To  enter  the  arena  on  a  basis  of 
display  would  mean  no  more  than  a  matching  of  skill  and  wits. 

This  advertiser  desired  most  of  all  an  individuality  so  surely 
stamped  upon  his  page  that  the  advertisements  would  stand  out 
from  the  crowd.  He  did  the  one  thing  none  of  the  others  wore 
doing;  he  used  type  only,  bold,  liberally  spaced,  and  straight 
across  from  margin  to  margin.  Arguments,  boiled  down  to  the 
uttermost  of  concentrated  salesmanship,  permitted  this  dashing 
typography.     By  the  elements  of  difference,  it  automatically 


4  ILLUSTRATION  IN  ADVERTISING 

attracted  attention.  Here,  indeed,  for  the  time  being,  at  least, 
was  individuality.  Illustrations  would  have  been  superfluous 
and  would  have  placed  the  advertisement  in  the  identical  physical 
category  with  the  rest.  It  was  a  temporary  expedient,  sound  in 
its  day,  and  employed  for  a  definite  purpose.  It  was  not  an 
argument  against  advertising  illustrations;  instead  it  was  a 
fundamental  idea,  used  in  an  extremity. 

Today,  illustrating  a  campaign  is  a  matter  of  illustrating  it 
distinctively.  Pictures  possess  as  much  character  as  individuals. 
A  picture  or  an  illustrative  plan,  which  lacks  individuality,  is 
apt  to  be  less  effective. 

Competition  has  driven  the  sluggard  from  cover  and  has  forced 
up  the  sleeves  of  the  mentally  lazy.  American  advertising  art 
is  remarkable  for  amazing  versatility  and  resourcefulness.  If 
fifty  electric  vacuum  machines  are  being  widely  exploited  in 
separate  campaigns  each  one  is  driven  to  an  under-surface  search 
for  something  new,  both  in  technique  and  in  the  foundational 
idea. 

The  value  of  this  may  be  read  in  the  necessity  for  a  more 
profound  study  of  the  product,  its  virtues,  its  exclusive  fea- 
tures, its  embedded  selling  arguments — attributes  less  apt  to  be 
interchangeable. 

Factors  influencing  any  campaign  of  illustrations  might  well  con- 
sider, then,  the  following  objectives,  regardless  of  the  product: 

1.  The  creating  of  an  exclusive  physical  atmosphere. 

2.  An  art  technique  which  shall  a.ssist  in  differentiating  the  campaign. 

3.  Possibilities  of  accumulative  interest,  due  to  a  serialization  of  the 
theme. 

4.  Analysis  of  the  popular  vogues,  fads,  and  fancies  of  the  public. 

5.  If  possible,  the  advancing  of  an  exclusive  selling  argument. 

6.  An  eye  to  pictorial  competition,  particularly  in  newspaper  space. 

7.  Meeting  the  picturized  campaigns  of  competitors. 

8.  Careful  study  of  seasonal  influence. 

9.  Perfect  correlation  between  text  and  illustration. 

10.  Some  indication  that  the  advertising  in  its  pictorial  phases  is  in 
sympathy  with  the  future  aims  of  the  sales  department. 

A(lv(Mtising  departments  are  more  and  more  seeking  the 
collaboration  and  the  suggestions  of  the  sales  department, 
although  some  sharp  controversies  have  taken  place  on  this  issue. 
Ik'causc  illustrations  comprise  such  a  dominating  part  of  advertis- 
ing, it  is  but  natural  that  they  should  attract  the  attention  of 
the  sales  organization  and  of  the  retail  and  wholesale  trade,  to 


INTRODUCTION  5 

whom  they  are  so  often  presented  in  broadside  form.  It  is 
likely  that  some  hint  of  a  policy  or  reference  to  a  condition 
which  exists  "on  the  road,"  given  by  an  interested  sales  manager, 
will  provide  the  basic  theme  for  a  series  of  illustrations. 

The  best  evidence  of  the  need  of  illustrations  in  an  advertising 
campaign  is  the  reader  interest  in  the  text.  Is  the  text  strong 
enough  to  stand  alone?  Are  the  facts  which  must  be  given 
rather  dull  and  technical,  when  unaccompanied  by  imaginative 
pictures?  Advertisers  sometimes  deliberately  test  this  condition 
by  setting  an  advertisement  first  in  ''cold"  tj^pe  and  by  passing 
it  around  for  review.  It  is  better  to  use  no  pictures,  than  to 
"drag  illustrations  in  by  the  heels."  The  preponderance  of 
illustrated  campaigns  is  evidence  of  the  wisdom  of  pictures. 
Every  advertiser  has  a  distinct  problem  of  his  own. 

Such  processes  as  govern  the  actual  creating  of  commercial 
art  show  the  divergence  of  need  and  of  method.  For  example, 
which  should  come  first,  picture  or  text?  Which  should  inspire 
the  other? 

It  is  by  no  means  an  unusual  practice  for  a  layout  and  creative 
artist  to  proceed  with  an  entire  series  of  advertisements,  so  far  as 
his  part  of  the  work  is  concerned,  and  to  turn  these  over  to  the 
writer  of  the  text.  It  is  understood,  of  course,  that  a  common 
theme  has  been  settled  upon,  which  has  to  do  with  selling  policies 
and  company  traditions,  and  that  there  has  been  a  "marriage  of 
purpose"  between  copy  writer  and  artist. 

The  writer  of  the  text  matter  is  more  likely  to  interpret  the 
commercial  aspects  of  the  campaign  and  to  keep  in  closer  touch 
with  production,  with  markets,  and  with  the  public  mind  of  the 
moment.  Artists,  if  not  trained  in  advertising  ways,  and  unsym- 
pathetic to  the  clink  of  the  cash  register,  might  allow  their 
temperaments  to  run  away  with  them.  Commercial  illustrations, 
as  a  rule,  should  be  drawn  in  precisely  the  same  spirit  which 
inspires  the  writer  of  sales  copy. 


CHAPTER   II 
PRELIMINARY  SKETCHES 

The  conditions  which  surround  the  acceptance  of  an  advertis- 
ing schedule  are  varied.  But  that  conscientious  censorship  is 
wise  no  one  wiU  question.  Advertising  is  a  growth,  a  blend  of 
many  minds.  It  would  appear  incredible  that  any  man  should 
possess  all  of  the  knowledge  which  must  go  into  an  advertising 
campaign. 

The  advertising  man  has  not,  as  yet,  quite  attained  the  pro- 
fessional independence  of  the  physician,  who  is  not  above  asking 
the  opinion  of  a  specialist,  on  occasion.  Advertising  is  not  a 
thing  by  and  unto  itself.  It  must  take  into  consideration  both 
maiuifacturer  and  the  impressive  aggregate  of  dealers  the  country 
over.  It  is  invarial)ly  successful  when  it  is  unselfish  in  its 
relationships  with  both. 

True,  coinplpxities  arise  when  there  are  too  many  persons 
working  on  the  problem.  For  a  mixed  group  of  critics  to  come  to 
agree  upon  the  merits  of  a  submitted  policy  is  unlikely.  Do 
not  ask  for  criticisms,  but  for  approval  and  constructive  con- 
sideration. Mankind  is  pathetically  susceptible  to  the  oppor- 
tunity to  criticise. 

l^xpcdiencies  which  make  it  easier  to  secure  an  acceptance  of 
the  artist's  work  find  a  place  in  a  book  of  this  character.  Few 
campaigns  are  independent  of  official  exactions,  including  com- 
pany executives,  special  committees,  boards  of  directors,  special- 
ists, and  de|)artnuMit  managers  who  must  pass  in  review  upon  the 
project.  Advertising  asks  for  censorship,  of  a  kind,  that  it  may 
fall  into  no  hidden  i)itfalls  of  business  practice  or  of  company 
policy. 

r^xperience  has  shown  that  certain  methods  are  best  in  the 
handling  of  preliminaiy-idea  sketches.  Where  the  contact  is 
close,  layouts  shoulil  be  rough.  Make  them  the  same  size  or  of 
the  proportions  for  which  they  are  scheduled.  The  advantage 
of  the  actual-sized  sketch  is  in  the  fidelity  of  its  presentation  of 
various  units.     Copy  limitations  are  set.     The  correct  relative 

6 


PRELIMINARY  SKETCHES 


Fig.    1. — The  artist's  first  roujj;h  skotch,  in  pencil.     Its  purpose  is  to  establish 
composition,  the  spirit  of  the  lay-out,  and  disposition  of  characters. 


Fig.  2. — From  the  first  rough  sketch,  models  are  posed,  conforming  to  its 
composition.  This  supplies  the  advertiser  with  a  photographic  illustration  where 
copy  of  this  character  is  preferaljlc.  It  also  proves  helpful  to  the  artist  in  making 
either  line  or  crayon  drawings  or  a  design  in  color  or  black  and  white  "wash." 


8 


ILLUSTRATION  IX  ADVERTISING 


proportions  of  tho  illvist ration  are  designated.  Everything 
tliat  must  go  into  the  advertisement,  down  to  headhnes,  trade 
marks,  coupons,  ete.  is  plotted  in  a  workmanlike  manner.  Where 
rough  layouts  arc  made  eonsiderably  larger,  there  is  an  im- 
certainty  of  apportionment,  resulting  in  a  final  inharmonious 
assembling. 


Fio.  3. — The  finisliod  photographic  product  from  posed  models.  The  spirit 
of  the  oriKinal  pencil  layout  has  been  rather  faithfully  retained.  Retouching 
was  necessary  in  places. 

Illustrations  will  appear  notably  different  in  reduction.  They 
do  not  live  up  to  the  expectations  apparent  in  the  large  drawing. 
A  composition  which,  in  the  preliminary  sketch,  seemed  entirely 
adequate,  bold,  and  with  sufficient  carrying  power,  may  shrink 
to  inconse(}uential  and  weak  proportions;  and  this  is  not  sensed 
until  the  proof  conies  from  the  engraver. 

The  professional  "Visualizer"  is  one  who  has  an  appreciative 
sense  of  display,  and  is  always  mindful  of  the  juxtaposition  of 
illustration  to  text.     He  is  absolutely  fair  to  both  artist  and  copy 


PRELIMINARY  SKETCHES  9 

writer;  he  knows  that  one  will  benefit  the  other  in  the  problem  of 
a  well-balanced  whole.  He  is  not  necessarily  an  artist;  in  fact,  he 
is  at  his  best  when  he  has  no  more  than  a  general  knowledge  of 
artistic  technique. 

Detail  in  the  preliminary  sketch  paves  the  way  for  criticism. 
The  committee  passing  upon  a  campaign  will  not  expect  too  much 
of  a  frankly  crude  composition  sketch,  where  heads  of  characters, 


J^^ 


i*^^fc^^V.".^~ '.  — . 


Fig.  4  — The  same  subject  visualized  in  skctcliy  crajou  Imudling  for  farm 
journal  use,  wlierc  the  paper  might  not  have  successfully  "taken"  a  more  complex 
technique. 

in  a  figure  layout,  arc  designated  by  circles,  and  backgrounds  are 
the  veriest  phantom  of  a  scene. 

The  most  practical  sketch  is  the  one  which  is  frankly  tenta- 
tive. It  allows  the  censor  to  supply  his  own  ideas  and  fill 
in  his  own  detail.  Draw  a  few  deft  lines  and  mark  across  the 
face  of  the  rendering,  "pretty  girl"  and  your  censor  is  at  once 
disarmed;  he  will  see  there  his  personal  preference  as  to  feminine 
beauty.  If  you  were  to  draw  the  figure  painstakingly  he  is  apt 
to  prefer  another  type,  criticise  the  hairdressing,  or  the  pose  of 
an  arm.  A  rough  sketch  should  be  the  first  crude  representation 
of  form  and  of  spirit. 


10 


ILLVSTRATIOX  IX  ADVERTISING 


Pioneers  at  the  work  use  thin  paper,  an  onionskin  tissue, 
which,  because  of  its  flinisiness,  emphasizes  the  drawing  is  for 
basic  composition  only  and  is  to  be  judged  accordingly.  The 
ostentation  of  a  sketch  made  on  heavy  cardboard  or  on  fine 
{jiiality  of  bristol  prepares  the  critic  for  detailed  analysis. 

Actual-sized  layouts  visualize  true  proportions  and  are  a  work- 
ing chart  for  typography  and  other  accessories.  Moreover, 
they  are  incxi^cnsivc  to  produce.     Where  such  sketches  are  made, 


Fiu.  5. — Pen  and  ink  interpretation  from  the  photOKraphic  base,  with  certain 
artistic  liberties  taken,  in  order  to  simi)lify  the   technique. 

they  provide  leeway  for  experiment.  A  half  dozen  of  them,  for 
the  same  advertisement,  can  be  turned  out  at  slight  cost.  The 
first  visulization  of  an  idea  may  not  be  the  best  by  any  means. 
Visualizers  prefer  to  "feel  their  way"  for  most  dramatic  pictorial 
effects.  For  his  own  convenience,  the  artist  has  files  of  maga- 
zine and  newspaper  sizes,  and  the  tracing  paper,  placed  over 
them,  clearly  defines  the  limitations  of  each  laj'out. 

Occasionally  the  more  elaborate  type  of  preliminary  drawing 
is  necessary.  Persons  lacking  imaginations  do  not  grow  enthusi- 
atic  over  an  outline.  Size  to  Ihom  is  a  deciding  factor;  sheer 
bulk,  pageantry,  and  elaborate  detail  alone  can  make  an  impres- 


PRELIMINARY  SKETCHES  11 

sion.  At  such  times,  the  large  working-size  prehminary  is 
essential.  It  serves  a  useful  purpose  in  an  emergency  or  where 
the  advertiser  is  a  newcomer  in  the  field. 

How  it  will  look  when  it  comes  down  to  the  correct  propor- 
tions does  not  occur  to  those  who  demand  infinite  detail  and  large, 
impressive  drawings.  A  blue  print  or  a  velox,  made  actual 
size  from  the  original  might  be  submitted  at  the  same  time, 
however. 

If  an  individualistic  art  technique  forms  a  significant  phase 
of  the  visualizer's  work,  he  may  suggest  its  use.  Wash,  color,  a 
combination  of  wash  and  pen-and-ink,  crayon,  charcoal,  pencil, 
etc.,  however,  would  be  economically  impractical  in  the  event 
layouts  are  made  in  large  form. 

Rough  sketches,  or  photographic  prints,  made  actual  size 
from  large  pencil  originals,  should  be  mounted  in  the  magazine 
or  in  the  newspaper  in  which  they  are  to  appear  to  weigh  dis- 
play values,  visual  reaction  and  the  power  to  meet  pictorial 
competition.  Any  layout  will  look  well  when  considered  as 
an  independent  unit.  Test  it  by  placing  it  in  its  ultimate  battle 
ground. 

It  is  invariably  sensible  to  suggest  the  typographical  setup; 
for  it  must  be  understood  that  illustrations  are  often  handicapped 
by  type  faces  and  blocks  which  are  not  in  harmony  with  the  art. 
The  desired  effect  may  be  secured  by  drawing  a  series  of  parallel 
lines  to  visualize  the  weight  and  position  of  the  reading  matter. 
This  relation  of  type  to  picture  is  more  intricate  than  most 
advertisers  imagine.  There  are  niceties  of  layout  which  mean 
an  artistic  frame  for  the  illustration,  and  typography  which  is 
not  suited  can  nullify  the  most  vigorous  art  study. 

Current  and  unnecessary  waste  in  advertising  is  attributable 
somewhat  to  expenditures  at  the  inception  of  the  campaign 
for  large,  elaborate  "rough  sketches"  which  are  not  that  in 
fact  and  which  are  often  immediately  rejected  for  want  of 
appropriateness  of  idea  or  of  arrangement. 


CHAPTER  III 
SIGNIFICANCE  OF  COMPOSITION 

What  may  be  referred  to  as  "stage  direction"  is  essential  to 
the  success  of  ilhist rated  advertisement.  Where  and  how  the 
pictorial  units  are  placed  is  as  vital  as  the  artistic  merit  of  the 
picture,  for  the  finest  work  of  the  most  sympathetic  talent  can  be 
ruined  by  makeshift  composition. 

The  name  "visualizer"  by  no  means  describes  the  breadth 
of  this  specialist's  activities,  for  he  correlates  the  component 
parts  of  the  layout,  such  as  main  ilhistration,  secondary  pictorial 
features,  reproduction  of  products,  embellished  name  plates, 
trade  marks,  typographical  blocks,  and  borders  and  areas  of 
white  space.  He  is  at  once  an  artist,  an  expert  in  typography, 
an  analyst  of  mental  processes  and  reactions  and  a  business  man. 
He  should,  among  other  things,  see  with  the  eyes  of  the  average 
reader  of  public  prints.  One  of  the  most  serious  errors  in  the 
preparation  of  advertising  is  to  lose  the  perspective  of  the  pros- 
pect. An  advertising  man  who  builds  an  advertisement  to 
please  himself  and  to  satisfy  his  own  vanitj^  and  his  personal  and 
artistic  preferences  is,  of  course,  narrowing  the  selling  market  of 
the  campaign.  The  aggressive,  large-space  modern  advertise- 
ment is  more  complex  than  was  advertising  during  the  earlier 
stages  of  its  growth.  It  is  made  up  of  more  sceueiy  more 
essential  "props,"  and  a  larger  cast  of  characters. 

VisuaHzcrs,  whothcr  so-called  or  not,  "  rehearse  "  this  embryo 
sclUng  drama.  They  study  the  possibilities  of  the  given  white 
space — the  stage,  as  it  weiie — designate  the  positions  of  all  props, 
and  are  dictatorial  in  matters  of  both  active  and  passive  ingre- 
dients. The  final  "full  dress  rehearsal"  is  arrived  at  only  after 
numerous  experiments,  and  expresses  itself  in  a  pencil  layout 
which  accurately  serves  as  a  guide.  Although  there  may  be  fifty 
possil)le  combinations  of  the  })arts  of  a  display,  one,  and  one  alone 
contributes  most  to  the  objective  of  the  message. 

Composition  regulates  the  inherent  charm  of  an  advertisement. 
It  sui)plies  perfection  of  balance,  the  symi)athetic  juxtaposition 

12 


SIGNIFICANCE  OF  COMPOSITION 


13 


of  various  units.  Composition  is  a  blend  of  the  landscape 
gardener  and  the  architect,  the  interior  decorator  and  the 
hanger  of  pictures  in  the  salon.  It  sees  to  it  that  illustrations 
receive  their  most  advantageous  settings  and  that  typography 
is  always  easy  to  read,  inviting  to  the  eye.  Composition,  indeed, 
is  a  sort  of  artistic  chef,  putting  in  a  little  of  this,  a  little  of  that, 
always  in  the  right  proportion. 

Rooms  there  are  which  immediately  clash  upon  the  artistic 
sensibilities.  Yet  exactly  the  same  furnishings,  arranged  differ- 
ently and  with  knowledge,  transform  the  jarring  room  into  a 
place  of  genuine  beauty. 


Fig.  6. 

Left. — Employing  a  uniciue  trade  mark  dc\'ice  as  the  composition  motif  of  the 
page.  The  peculiar  wedge-shape  has  significance,  as  it  is  a  part  of  the  adopted 
signature  symbol.  This  composition  is  expressive  of  the  reaching  out  for  new 
forms,  new  idea.s  in  the  physical  plotting  of  the  message. 

Center. — -An  all-over  i)hotographic  illustration,  forming  a  vigorous  and  color- 
ful frame  for  the  text  space.  Note  with  what  artistic  care  the  trade  mark 
seal  has  been  introduced,  in  perfect  harmonious  balance. 

Right. — Advertising  campaigns  often  profit  by  the  absence  of  confining 
borders,  decoratic  mortises  and  formal  design.  The  Cadillac  page,  one  of  a 
series,  dispenses  with  these  ingredients  and  relies  wholly  upon  a  perfect  adjust- 
ment of  type  to  illustration.  There  is  shrewd  planning,  however,  in  the  layout 
which  may  not  be  apparent  to  the  non-technical  eye. 


It  is  not  a  bad  practice  to  look  upon  advertising  space,  as  a 
room,  as  an  estate;  and  the  same  principles  which  hold  good  with 
the  interior  decorator  and  the  landscape  gardener  are  equally 
true  of  an  advertisement's  physical  phases. 

Composition,  in  other  words,  sets  the  house  in  order.  Compo- 
sition finds  a  suitable  place  for  everything.  Composition  takes 
shreds  and  patches  and  makes  an  artistic  whole  of  them. 


14  ILLUSTRATION  IN  ADVERTISING 

The  case  is  recalled  of  a  celebrated  manufacturer,  who,  inter- 
ested in  the  advertising  of  his  product,  insisted  upon  personally 
directing  its  destiny.  He  had  a  way  of  purchasing  elaborate 
paintings  from  nationally  known  artists,  and  arbitrarily  adapt- 
ing them  to  campaign  needs.  But  he  did  not  understand  com- 
position. He  translated  advertising  in  mere  terms  of  picture  and 
type.  As  a  consequence,  his  campaigns  were  neither  effective 
nor  profitable.     They  offended  far  too  many  canons  of  good  taste. 

Illustrations  which  cost  as  much  as  one  thousand  dollars,  were 
submerged  in  distractions  of  disturbing  layout.  It  is  no  wiser  to 
toss  type,  pictures,  trade  marks,  borders  and  white  space,  indis- 
criminately into  an  advertising  page,  than  to  do  the  same  with 
furniture  in  a  room.  Recently,  this  manufacturer  has  been 
persuaded  to  allow  an  expert  to  plot  his  advertisements,  and 
while  the  identical  ingredients  are  there,  the  new  program  has 
received  wide  commendation. 

Knowledge  of  composition  is  by  no  means  a  common  gift. 
Some  persons  appear  to  be  born  with  it;  their  eyes  and  their  minds 
instinctively  turn  to  form,  color,  and  niceness  of  arrangement. 
They  are  architects  of  tj^pe,  pictures,  and  white  paper.  Anj^hing 
which  is  not  artistic  rasps  and  irritates  them. 

Others  are  compelled  to  arrive  at  the  same  conclusion  by  the 
circuitous  route  of  experiment.  They  know  when  a  certain 
composition  is  altogether  pleasing  and  adequate,  but  are  not  in  a 
position  to  achieve  it  imerringly,  at  the  first  trial.  The  student 
of  advertising  composition  may  ask,  "But  how  am  I  to  master 
this  apparently  subtle  and  intricate  art  if  it  is  so  elusive?  By 
what  method  may  it  be  attained?" 

Those  entirely  unfamiliar  with  the  technique  of  advertising 
design,  the  masses,  arc  nevertheless  peculiarly  responsive  to 
correct  form,  composition,  meritorious  layout.  They  fed  it, 
without  definite  knowledge  of  its  operations.  This  is  one  of 
Nature's  wise  dispensations.  Broadly  speaking,  it  may  be 
explained  in  the  basis  that  nature  is  inherently  artistic.  The 
world  around  us  has  a  way  of  falling  into  unconsciously  pleasing 
compositions.  A  thousand  miles  of  woodland  may  not  show  a 
false  note.     Thus,   the   public's  eye  is  somewhat   pre-trained. 

The  poorly  and  faultily  composed  advertisement  repulses, 
although  i)cople  may  not  understand  why.  The  artistic  arrange- 
ment attracts  in  the  same  manner.  In  a  recent  interesting 
experiment,  two  advertisements  of  related  subjects  and  of  the 


SIGNIFICANCE  OF  COMPOSITION 


15 


,^j>.Jt^^J^ 


In  all  the 
35  years 


Fig.  7. 

Upper  Left. — Tradition  has  it  that  the  picture  should  have  top  position  in  a 
layout,  because  its  sphere  is  to  create  that  initial  desire  to  read  the  message.  In 
an  entire  series,   this  advertiser  successfully  reverses  the  order. 

Upper  Right. — A  series  featuring  panel  for  text,  surrounded  by  illustration, 
on  the  theory  that  the  composition  tends  to  lead  the  eye  into  the  selling  message. 

Lower  Left. — ^Revolutionary  but  with  many  points  in  its  favor,  not  the  least 
of  which  is  its  power  to  attract  the  eye  due  to  freedom  from  conventional 
forms.     Advertising   welcomes   the    composition   pioneer. 

Lower  Right. — A  postery,  even  sensational  scheme  of  layout,  useful  occasion- 
ally when  an  important  illustration  and  brief  text  are  to  be  boldly  featured. 


16 


ILLUSTRATION  IN  ADVERTISING 


same  proportions  were  submitted  to  thirty-five  men  and  women. 
The  audience  was  composed  of  average  persons.  One  of  the 
displays  was  fine  as  to  composition,  the  other  faulty,  although 
l)oth  were  illustrated  by  the  same  competent  artist.  The 
vote  was  overwhelmingly  for  the  meritorious  composition.  But 
when  asked  why  the  advertisement  was  selected  in  preference  to 
the  other,  it  could  not  be  explained.     It  was  an  intangible  attrac- 


For  its  Beauty  — 
your  skin  needs  quick,  simple  cleansing 


FMUC  UH  a  Cam  MX 


IVORY  SOAP 

W---".  P\-llt  IT  flOATS 


•■■■■■■r 

■  ■n»aal 


III 


SEW!  Qiieit  IVORY 


-MkA 


Fio.  S. — An  cxamiilc  of  the  "editorial  style"  of  composition  and  make-up; 
with  little  iiKliviflual  fragments  of  text  and  illustration  so  placed  as  to  form  an 
interesting  whole.  There  are  exponents  of  this  school,  and  another  group 
equally  certain  that  interest  is  too  severely  scattered.  Advertising,  however, 
has  room  for  all. 


tion.  One  intrigued  and  invited  and  retited  the  human  eye;  the 
other  antagonized  it  by  flagrant  violations  of  the  laws  of 
balanced  composition. 

There  are  several  accepted   practices  in  relation  to  experi- 
mental work.     One  of  these,  and  by  far  the  best,  is  to  assemble 


SIGNIFICANCE  OF  COMPOSITION 


17 


Gold! 

-  in  your  telephone 


iVestern  Electric 


HiipmobiU" 


M3LER  COLLEGIAN 

C    L  O  T  H  E  S 


*idtfr  splicing  "1  iht  htit|.Hi»;  iln  «» 

r^Hi-icrt;  ihr  tnhcr  btc  hall  «>  U  .). 

(pmcni*;  arc  tvrtuiiil*  «cll-dist>iu>t 

"i>  \Jicr  ( >>M«didn  nxHlcI  ...  IK 

,  -,.,1  th.tt  anv  i.i^n  can  «car  «Hti 

1  Mrt^r  iliMt  tUc  «:«i  o(  his  tl'-tli 

I.  lU  ill  acoi>rJttUkt'  wirh  llhu  uvct.- 

iKj.i  llonJ  Street  nnJ  btilh  X\c 


Fig.  9. 

Upper  Lcfl. — Resoniblcs  a  "reading  section"  pane  in  niako-up  Note  (hat 
name  plate  display  and  sub-heads  have  been  avoided. 

Upper  Right. — A  "scattered"  composition,  but  the  illustrafion.s  form  a  running 
story  of  more  importance  than  grace  of  design.  There  is  a  liint  of  rotogravure 
page  lay-out  which  is  newsily  inloresting. 

Lower  Left. — A  composition  which  defies  tradition.  Illustration  fitted  around 
a  type  box  on  such  a  manner  as  to  set  it  off. 

Lower  Right.— The  page  actually  divided  into  two  separate  units,  one  devoted 
to  pictorial  display,  the  other  a  slender  column  of  tailoring  facts. 


18 


ILLUSTRATION  IN  ADVERTISING 


the  known  units  of  a  gi\'cn  advertisement,  and  move  them  about 
across  the  face  of  the  layout,  as  one  might  move  parts  of  a  jig-saw 
puzzle.  Or,  given  the  correct  space  limitations,  make  very  rough 
sketches  until  some  strikingly  artistic  composition  is  arrived  at. 

In  a  generation  which  has  brought  a  large  volume  of  advertis- 
ing and  which  has  made  competition  in  display  a  significant 
problem,  the  layout  becomes  paramount,  for  novelty  of  layout 
means  superiority  of  attention-compelling  value.     "How   can 


1  ,^^^^ 

^SgR 

One  half  o(  vour  lifetime,  and 
more,  is  spent  in  hosiery.  Your 
constant  and  intimate  travel- 

^k 

*v55^W 

ing  companion!   It  is  an  im- 
portant part  of  your  personal 
protection  and  cmbclhshmenL 
The  world  buys  more  Pbocnix 
hosiery-  than  any  other  kind, 
because  it  has  dounnght  t/f- 

m 

gancc  and  a  tenacious  wear- 
ability  thai  makes  it  a  substan- 

^^^1 

tial  economy.  For  men,  women 
and  children,  it  is  the  sUindurJ 
hosiery  throughout  the' world. 

^mM 

PHOENIX 

W 

HOSIERY 

^ 

^^^^ 

^ 

1 

the  sime  IVn  and  Rmril  lli.il     ,   "■  ■      >ti 
the Bu!>inf s-. \\brldjiiHJjJ)esl    '       '.  <  U i 


t:v:£:RSHApp 


nukhe<1  by 


WAHL_pm 

Fio.  10. 

Lffl. — The  Phoenix  campaign,  running  for  several  years  along  the  s.-vnie  lines, 
delilierately  set  out  to  "do  soinothing  tlitTerent"  in  the  matter  of  physical  atmo- 
sphere and  composition.  Although  each  page  was  an  independent  unit,  a 
sympathy  of  feeling  was  always  in  evidence,  thus  establishing  the  "family" 
idea. 

liii/ht. — Nothing  commonplace,  nothing  traditional  in  this  unique  Layout. 
There  are  thousands  of  variants  of  it,  which  should  inspire  advertisers  to  make 
an  earnest  effort  to  "get  away  from"  certain  set  forms  whicli,  in  time,  outlive 
their  usefulness.  When  a  magazine  carries  more  than  one  himdred  pages  of 
a<lvertising,  is  it  not  necessary  to  search  for  new  ideas  in  composition? 

the  advertisement  be  made  to  statul  oul?^'  is  the  question.     The 
user  of  smtill  space  is  d()ul)ly  concerned. 

The  answer  is  often  to  be  found  in  power  of  composition. 
Fine  art,  compelling  copy,  distinctive  technique,  are  all  helpful, 
but  they  arc  secondary  to  their  own  assembling.  Those 
advertisements,  which  at  once  arrest  the  attention,  upon  analysis 
prove  to  be  structurally  strong  in  composition.  They  success- 
fully combat  their  fellow  displays  by  observing  well-known  rules 


SIGNIFICANCE  OF  COMPOSITION 


19 


of  scientific  layout.  They  admit  a  certain  problem,  and  then 
set  out  to  meet  it  by  every  technical  device  at  their  command. 
The  advertiser  who  builds  his  campaign  with  one  eye  on  the 
inevitable  competition  will  build  ruggedly.  Pasting  proofs 
upon  a  newspaper  or  a  magazine  page  leaves  no  opportunity 
for  later  disillusionment.  Considered  alone,  as  a  separate  unit, 
segregated  from  that  competition  which  is  the  final  test,  a  layout 
proves  nothing,  because  it  merely  competes  with  itself. 


Qing]^ams  cu  varied  as  the  summer  nwde 

^ - 


David  6?  John  Anderson  Scotch  Ginghams 


Fig.  11. 

Lefl. — ^A  composition  which  violates  every  known  rule  but  which  is  none  the 
less  effective.     It  possesses  that  most  precious  asset — individuality. 

Right. — Neat,  well-groomed  arrangement  of  the  component  parts  of  a  page 
advertisement,  and  at  all  points  and  in  all  respects,  avoiding  the  obvious — 
the  thing  which  is  ordinarily  done. 

A  wonderfully  executed  illustration  by  a  painter  of  note, 
produced  at  great  expense,  will  be  no  more  valuable  in  an 
advertisement  than  the  forces  which  have  been  set  to  work  in  its 
behalf:  forces  which  have  to  do  with  environment,  with  size, 
with  arrangements  of  mortises  for  text,  borders,  placings  of 
typography,  and  individuality  of  layout.  This  might  have  been 
less  true  a  few  years  back,  when  the  really  fine  illustration  was 
in  the  minority,  but  today  the  preponderance  of  the  good  is 
so  noticeable  that,  of  itself,  it  is  not  sufficient  for  display  pur- 
poses. Distinctiveness  of  composition  must  come  to  its  rescue 
as  at  least  a  desirable  attribute. 


20  ILLUSTRATION  IN  ADVERTISING 

Illustrations,  which  at  best  are  ordinary  as  to  subject,  can  be 
nuule  to  dominate  sj)ace,  large  or  small,  through  the  artifices 
of  a  resourceful  layout  artist,  which  proves  that  composition 
and  art  l)clong  together  in  a  comradeshi])  of  effort.  This  does  not 
refer  to  the  composition  of  the  illustration  itself,  but  to  the  placing 
of  the  picture  in  relation  to  other  units  of  the  advertisement. 

An  excellent  procedure,  in  any  event,  is  to  take  what  may 
have  seemed  a  satisfactory  display,  and  after  its  actual  appear- 
ance, "tear"  it  apart,  rearrange  it,  in  a  search  for  that  still  better 
composition,  which  is  always  the  reward  of  study. 

By  observing  the  displays  in  a  single  magazine  or  newspaper 
and  by  weighing  their  virtues  and  defects  invaluable  data  is 
secured.  For  one  thing,  it  will  be  at  once  apparent  that  adver- 
tisers are  making  remarkable  advances  in  this  field.  The  lay- 
out which  is  commonplace  suffers  correspondingly. 

It  was  considered  rank  heresy  at  one  time  to  place  an  illus- 
tration at  the  bottom  of  an  advertisement.  In  working  out  a 
scenario  of  reader  response,  it  appeared  sensible  to  conclude  that 
there  were  certain  approved  sequences  of  appeal.  A  picture 
was  employed  to  attract  the  attention  of  the  prospect  and  to 
lead  him,  by  easy  stages,  into  the  text.  As  a  consequence,  the 
illustration  should  always  come  first.  It  was  the  door  through 
which  people  entered  the  selling  edifice.  Why,  then,  reverse  the 
correct  and  logical  order  of  things,  and  place  this  door  last? 

But  advertising  beliefs,  prejudices,  and  traditions  have  under- 
gone radical  changes.  There  are  few  arbitrary  rules  of  this 
kind.  A  page,  at  best,  is  a  small  area  for  the  eye  to  cover. 
Why  stress  psychology  to  such  an  exacting  extent — as  if  human 
vision,  in  the  limited  confines  of,  say,  a  magazine  page,  would 
go  picking  and  choosing  to  this  finicky  degree.  It  is  done  to 
some  extent,  admittedly,  but  this  feature  has  been  vastly  over- 
estimated as  to  importance. 

Composition  is  advertising's  tailor.  It  sees  that  a  display  in 
its  entirety  is  well-groomed.  It  allows  no  one  part  to  dojninate 
beyond  its  just  degree.  It  is  an  arbiter  of  style,  of  modishness 
and  of  modernity.     It  is  the  magic  harmonizer. 

The  i^erfect  composition,  as  a  rule,  automatically  brings  an 
ease  of  advertising  manner,  poise.  Wlierever  it  is  practiced, 
the  advertisement  "holds  together."  It  is  not  disjointed,  and 
then;  arc  no  distractions.  The  relative  importance  of  copy  and 
of  illustration  is  neatly  adjusted. 


CHAPTER   IV 
SELECTING  THE  ILLUSTRATIVE  THEME 

Some  of  the  most  brilliantly  successful  ideas  for  illustrating 
national  advertising  campaigns  have  originated  with  the  sales 
department,  and  this  source  of  practical  inspiration  should  never 
be  ignored  or  overlooked. 

It  is  of  the  greatest  importance  to  arrive  at  a  basic  theme  which 
will,  first  of  all,  sell  the  product  along  lines  of  least  resistance 
and  w^hich  will  work  in  harmony  with  the  person  Avho  closes 
the  actual  sale.  To  separate  any  discussion  of  commercial  art 
from  the  "selling  end"  is  to  treat  the  subject  half-heartedly. 
The  time  has  passed  when  art  was  looked  upon  as  a  mere  frame 
for  copy.  In  one  form  or  another,  illustrations  must  sell  mer- 
chandise, whether  by  supplying  helpful  atmosphere  or  by  a 
more  direct  commercial  appeal. 

And  every  product  presents  specific  prol)lems  and  objectives 
which  make  it  quite  impossible  to  set  down  definite  rules  of  pro- 
cedure The  advertiser  generally  takes  a  broad-gage  view, 
deciding  upon  a  concerted  plan  of  illustration  which  can  be  made 
a  fixture  over  a  given  period.  Frequent  changes  in  the  physical 
appearance  of  advertising  can  do  irreparable  damage.  There  is 
nothing  upon  which  the  public  may  fasten  its  memory,  its  recog- 
nition, and  its  confidence. 

A  famous  soap,  advertised  for  generations,  had  employed  a 
standard  style  of  illustration  and  typographical  makeup  for 
almost  fifteen  years.  It  had  become  a  familiar  form,  every  bit 
as  identifiable  with  this  one  soap  as  the  company's  trade  mark. 
A  young  salesmanager  wanted  his  new  broom  to  sweep  clean. 
He  contended  that  the  public  had  grown  weary  of  the  sameness 
of  the  illustrative  theme  and  its  manner  of  presentation.  And, 
with  a  ruthless  hand,  he  destroyed  that  which  had  been  genera- 
tions in  the  making. 

What  was  the  result?  In  ferreting  around  for  a  new  idea,  he 
settled  upon  a  "vogueish"  style,  then  popular,  which  was  more  or 

21 


22  ILLUSTRATION  IN  ADVERTISING 

less  imitated  by  the  majority  of  soap  manufacturers.  The 
original  character  and  distinctiveness  of  the  advertising  was  lost. 
Moreover,  the  selling  idea  was  a  concentration  upon  one  appeal, 
that  its  use  would  beautify  the  complexion,  whereas  previous 
efforts  had  generalized,  with  consistent  success.  Too  late,  it 
was  appreciated  that  distinctiveness  in  illustration  can  become  a 
genuine  business  asset. 

To  consider  pictures  for  a  year  to  come,  rather  than  the  individ- 
ual advertisement,  is  essential.  Nor  should  the  decision  be  made 
hastily.  The  advertising  program  of  a  now  nationally  distri- 
buted product  was  deferred  almost  a  year  because  the  manu- 
facturer failed  to  locate  a  sound  advertising  basis.  He  set  about 
his  task  in  a  workman-like  manner.  The  first  step  was  to  make  a 
collection  of  the  advertising  of  every  competitor  in  his  field. 
This  research  work  extended  to  technical  journals,  trade  publica- 
tions of  all  kinds,  newspaper  campaigns,  street  car  cards,  posters, 
consumer  literature,  and  catalogs.  For  how  can  an  advertiser 
make  a  decision  as  to  policy  if  he  has  no  more  than  a  superficial 
knowledge  of  the  advertising  activities  of  his  competitors?  He 
might  unconsciously  duplicate  their  methods  and  illustrations; 
he  might  merely  go  over  ground  which  had  been  conscientiously 
covered  in  the  past.  By  assimilating  the  advertising  of  his 
competitors,  he  is  in  a  position  to  avoid  the  obvious  and  the 
hackneyed,  and  profit  by  the  virtues  and  the  mistakes  of  those 
who  have  gone  before. 

This  advertiser  decided  to  stress  economy.  Illustrations 
visualized  the  saving.  But  before  the  campaign  had  been  run- 
ning six  months,  it  was  seen  that  a  better  basic  theme  could  be 
found.  The  average  woman  was  unwilling  to  jeopardize  a  big 
baking  of  bread,  the  last-minute  dinner-time  baking  of  a  cake  or  a 
pie,  because  of  a  saving  of  a  few  cents  on  her  baking  powder. 
Investigation  would  have  warned  the  advertiser  in  advance. 
It  was  a  valuable  fact  but  not  one  to  make  the  compelling  feature 
of  a  cami)aign. 

Commonplace  products  demand  uncommonplace  illustrations. 
And  it  is  to  the  everlasting  credit  of  the  modern  advertising 
campaign,  that  it  has  learned  to  dig  deep  for  rugged  features 
lending  themselves  naturally  to  exclusive  and  dramatic  pictorial 
embellishment.  It  is  not  difficult,  perhaps,  to  find  a  selling 
argument,  but  it  is  relativc^l}'  difficult  to  locate  one  which  invites 
original  illustrations,  bearing  a  family  resemblance. 


SELECTING  THE  ILLUSTRATIVE  THEME  23 

Campaigns  which  have  been  noticeably  successful  in  this 
respect  deserve  mention  here,  as  examples  of  how  it  can  and 
should  be  done.  The  idea,  in  each  case,  opens  up  treasure-troves 
of  art.  There  is  nothing  more  discouraging  than  the  good  selling 
angle  which  offers  no  opportunity  to  the  artist. 

Observe,  then,  in  the  following  instances,  how  a  foundational 
picture-theme  has  been  originated,  which  illustrated  the  story 
from  a  new  angle  unconventionally  and  brilliantly. 

A  campaign  in  behalf  of  tire  valves  and  tire  gages  has  picturized 
the  story  of  air,  and  the  things  which  take  place  when  it  is  confined. 
The  advertiser  believed  that  the  average  car  owner  held  no  ade- 
quate conception  of  the  importance  of  tire  inflation  and  the 
tremenduous  power  which  was  held  in  obedient  check. 

A  campaign  for  a  motor  truck  glorified  various  trades  and 
industries  employing  these  trucks,  thereby  opening  the  door  to 
interesting  character  studies  of  the  butcher,  the  baker,  and  the 
candlestick-maker.  Such  valuable  statistics  were  given  as  to 
the  importance  of  these  men  and  trades  that  the  campaign  was 
made  educational  to  a  degree. 

A  campaign  for  a  trade-marked  rope  features,  pictorially, 
the  tiny  blue  thread  which  nms  through  the  core  of  the  product, 
quickly  identifying  it,  a  new  idea  in  a  field  that  has  seen  few 
developments  in  its  entire  advertising  existence. 

A  packing  house  traced  the  early  history  of  the  United 
States,  in  order  to  draw  a  compelling  parallel  of  meat  supply, 
then  and  now.  On  the  artist's  canvas  are  spread  an  absolutely 
limitless  array  of  inspiring  themes,  as  history  comes  to  life  beneath 
the  brush.  But  pictures  of  hams  and  bacons  had  become  an 
old  story  and  an  oft-told  one.  And  here  was  a  path  away  from 
the  conventional,  the  obvious. 

A  playing  card  manufacturer  runs  a  series  of  unique  problems 
of  whist  and  bridge,  although  this  was  an  indirect  method  of 
showing  the  product.  The  humor,  the  studies  in  expression, 
and  the  mental  alertness  of  players,  could  be  portrayed  as  illus- 
trations. The  campaign  was  an  expedient  move,  because  it 
created  new  players  and  whetted  the  appetite  for  innocent  games 
among  those  who  had  not  played  before. 

A  motor  car  manufacturer  allows  actual  owners  to  tell  their 
stories  of  automobile  companionship  and  service,  with  what 
illustrative  result?  The  customary  and  somewhat  monotonous 
background  of  car  illustrations  is  avoided,  as  different  types  of 


24  ILLVSTRATIOX  IX  ADVERTISING 

users  bring  their  own  interesting  environment.  It  may  be  blind 
Helen  Keller,  touring  the  mountains,  or  a  hunter  of  big  game 
taking  his  automobile  with  him  to  the  frontiers  of  adventure. 

A  soap  manufacturer  provides  distinctive  pictorial  atmosphere 
by  visualizing  the  protective  and  cleansing  character  of  its  carbolic 
acid  ingredient,  and  takes  the  reader  into  every  public  highway 
where    contamination   and   disease   may   reach   human   hands. 

A  maker  of  automobile  bodies  bravely  avoids  the  obvious,  and 
never  shows  its  own  product,  being  content  with  powerful 
character  studies  of  aristocratic  and  discriminating  types  of 
people,  with  just  a  mere  hint  of  automobiling. 

Avoiding  customary  family-group  scenes  around  the  radio, 
one  maker  of  receivers  delves  into  the  past  and  traces,  pictor- 
ial substitutes  for  wireless,  as  practiced  long  ago,  from  town  criers 
to  the  African  war  drums,  and  the  signal  fires  of  the  western 
Indian.  This  means,  as  in  the  examples  already  mentioned,  a 
change  of  illustrative  theme  with  every  advertisement,  but  with 
the  aggregate  campaign  of  pictures  neatly  tied  together  by  a 
common  bond  of  basic  subject. 

A  silverware  house  deliberately  selects  those  embarassing 
experiences  of  the  home  and  of  entertaining,  when  put  in  picture 
form,  tell  of  the  critical  guests,  the  hasty  w'ashing  of  one  set  of 
spoons  in  time  for  the  next  course,  or  the  dinner  which  was  a 
failure  because  things  did  not  go  smoothly,  in  order  to  suggest  the 
desirability  of  having  a  complete  selection  of  silver.  The  trage- 
dies are  rather  grim  in  their  way,  but  on  canvas,  they  make 
comi)elling  sales  history. 

Many  other  examples  might  be  given,  for  it  is  a  by  no  means 
uncommon  practice.  But  these  few  will  suffice  to  show  that  the 
campaign  which  is  illustrated  strikingly  and  in  an  original  manner 
must  find  receptive  material  at  the  base.  Copy  is  "wedded" 
to  studio  effort.     There  is  a  happy  affiliation. 

Nor  are  such  themes  acquired  hit-or-miss.  They  are  invari- 
ably the  result  of  study  of  every  phase  of  the  product,  its  market 
and  its  competitors. 

Perhaps  the  most  interesting  argument  in  favor  of  these  illus- 
trated campaigns  is  their  close  adherence  to  the  practices  and 
observances  of  sound  salcsman.ship.  The  pictures  justify  them- 
selves. They  are  engrossing,  as  art,  but  they  also  keep  well  with- 
in the  confines  of  logic,  as  related  to  the  gooils  they  represent. 
Anything  short  of  this  would  be  unworthy. 


SELECTING  THE  ILLUSTRATIVE  THEME  25 

It  is  always  well,  in  planning  a  series  of  illustrations,  for  any- 
type  of  product,  to  sock  the  viewpoint  of  the  consumer.  By  so 
doing,  the  one  best  argument,  the  one  most  efficient  picture  appeal, 
is  apt  to  be  uncovered.  It  may  be  some  apparently  insignificant 
feature  which  has  been  overlooked. 

A  campaign  for  a  certain  breakfast  cereal  had  been  but  moder- 
ately successful  for  many  seasons.  Then,  one  day,  a  letter  was 
sent  by  the  advertising  department  to  a  list  of  five  hundred  grocers 
in  different  parts  of  the  country,  asking  them  to  express  their 
opinion  as  to  the  best  selling  and  advertising  feature  of  the  pro- 
duct, as  brought  out  by  the  American  housewife.  "It  cooks  a 
few  minutes  sooner  than  the  ordinary  oatmeal,"  came  back  the 
prompt  response.  And  when  this  fact  was  visualized  in  pictures 
and  described  in  text,  the  advertising  became  wholly  profitable. 


CHAPTER  V 
ADAPTING  THE  ART  MEDIUM 

Rapid  progress  in  the  processes  of  engraving  has  at  last  dis- 
pensed with  every  hazard  and  handicap  formerly  encountered 
by  the  artist,  whose  work  was  sharply  limited  by  the  mechanical 
methods  of  his  day.  It  is  unquestionably  true  of  modern  repro- 
ductive possibilities  that  no  medium,  no  trick,  no  subtlety  is 
beyond  the  most  perfect  printing  facsimile.  Artists  may  proceed 
without  a  thought  to  reproduction,  although  the  reservation  is 
made  that  certain  technical  observances  make  it  easier  for  all 
concerned.  The  important  thing  is  that  the  character  of  the 
individual,  as  reflected  in  his  work,  can  be  reproduced  with  the 
greatest  fidelity. 

An  advertising  campaign,  therefore,  takes  on  the  color,  warmth, 
sentiment,  and  significance  of  an  exclusive  atmosphere.  A 
medium  may  be  chosen  which  shall  assist  in  the  telling  of  a 
story.  So  important  a  phase  has  this  become  that  the  selection 
of  artists  and  techniques  is  second  only  to  the  basic  idea.  Having 
decided  definitely  as  to  the  spirit  of  his  material  and  its  pictorial 
fundamentals,  the  advertiser  next  seeks  an  artist  and  a  medium 
which  are  nicely  calculated  to  bring  it  out.  Technique  is  to  an 
advertising  campaign  what  personality  is  to  the  individual.  It 
is  a  distinctiveness  of  dress,  while  bringing  certain  deeper  ciualities 
to  life. 

The  advertiser  now  selects  both  artist  and  technique  with  as 
great  care  and  as  much  artistic  discrimination  as  a  dramatic 
producer  would  use  choosing  his  cast.  The  diflPiculty  of  this  is 
made  easier  by  an  ever-increasing  roster  of  available  talent. 
Once  reluctant,  these  competent  men  and  women  now  look  upon 
commercial  art,  so-called,  as  a  field  of  noteworthy  endeavor. 
Not  only  is  the  remuneration  handsome,  but  all  advertising  has 
been  (Ugnified  by  its  own  higher  ideals  and  its  constant  striving 
for  perfection. 

Competition  is  interestingly  keen.  As  popular  artists  develop 
vogues  and  styles  and  schools  peculiarly  their  own,  they  arc 

26 


ADAPTING  THE  ART  MEDIUM 


27 


eagerly  snapped  up  by  advertising,  for  advertising  must  change 
with  the  times;  must  keep  pace  with  what  is  currently  esteemed 
by  the  greatest  number  of  people. 

It  is  not  always  a  paramount  question  of  good  art,  but  one  of 
good  art  expressed  in  terms  which  will  most  intimately  relate  to 
the  project  in  hand.  A  certain  artist  may  be  both  popular  and 
inspired,  and  nevertheless  fall  short  in  sympathetically  illustrat- 
ing the  campaign.     Specialization  is  coming  to  the  fore.     If  an 


« 
■•■( 

» 

f 

Fig.  12. — An  interesting  example  of  poster-wasli,  executed  in  flat  masses, 
are  "cut  out"  on  the  plate,  for  greater  contrast. 


Whites 


advertiser  has  a  story  to  tell  involving  the  atmosphere  of  early 
Indian  days,  then  he  seeks  talent  which  has  always  concentrated 
on  this  period.  If  there  is  a  series  to  prepare,  based  on  character 
study  and  industrial  activities,  the  artist  who  makes  these  can- 
vases does  it  a  little  better  than  anyone  else  and  will  echo  an 
atmosphere  in  which  there  are  no  technical  flaws. 

This  wide  latitude  was  impossible  during  the  earlier  days  of 
advertising,  because  processes  of  reproduction  had  not  advanced 
sufficiently  to  make  printing  facsimiles  of  a  practical  character. 


28  ILLUSTRATION  IN  ADVERTISING 

In  the  current  regime,  an  artist  may  proceed,  fancy  free,  assured 
of  reproductions  which  defy  the  most  exacting  censor. 

Because  various  artists  have  varying  techniques  and  mediums, 
the  selection,  for  a  campaign  of  imposing  magnitude,  becomes 
more  than  ordinarily  significant.  There  are  questions  which 
must  be  arbitrarily  asked  before  the  decision  can  be  made : 

1.  ^^^lat  medium  will  host  serve  to  bring  out  the  atmosphere  it  is  wished 
to  create? 

2.  To  what  extent  must  distinctiveness  and  individuality  of  illu.stration 
be  emphasized? 

3.  Where  is  the  advertising  to  appear  and  on  what  grades  of  paper  stock  ? 

4.  Are  photographs  preferable  because  of  the  illustrative  conviction  they 
bring? 

5.  What  have  competitive  advertisers  done  in  the  past  and  what  are 
their  present  methods? 

In  a  sense,  the  advertiser  must  shop  in  a  great  department 
store,  there  to  decide  on  the  physical  appearance  of  his  cam- 
paign. The  shelves  are  filled  with  attractive  possibilities.  He 
may  garb  his  advertising  ruggedly  in  homespun,  if  he  feels  this 
is  to  its  advantage;  or  he  may  deck  it  out  in  silks  and  satins. 
And  for  the  duration  of  this  campaign,  at  least,  the  character 
of  the  product  will  be  inexoral)ly  influenced  by  his  selection. 

Chief  among  the  mediums  at  his  disposal  are: 

Original  wash  drawings,  in  transparent  water  color. 

Tempera  originals,  with  white  pigment  mixed  with  the  black. 

Paintings  in  black  and  white  oil. 

Crayon,  for  line  or  half-tone  rcj)roduction. 

Pencil,  for  line  or  half-tone  reproduction. 

Dry-brush  techniciue,  on  surfaced  jiaper. 

Combituition  line  and  half-tone  illustrations. 

Line  drawings  embellished  with  Uvn  Day  tints. 

7''he  poster-style  wash. 

Poster-style  line. 

Mas.sed  blacks,  for  poor-pajier  reproduction. 

Etching-style  jien  dniwings. 

Full-shade  line. 

Jlalf-shadc!  lino. 

Pen-and  ink  outline. 

Black  silhouette. 

White  silhouette. 

Piiotograj)hy. 

Photographic  combined  with  pencil. 

Photograjjliic  in  combination  with  line. 

Photographic,  poster-retouched. 


ADAPTING  THE  ART  MEDIUM 


29 


There  are  any  number  of  variants  of  the  above,  with  the 
techniques  shading  off  into  a  hundred  and  one  unique  illustrative 
schools,  each  sufficiently  different  from  the  other  to  make  it 
possible  for  an  advertiser  to  find  some  new  combination  or  blend 
which  will  individualize  his  series.  The  foregoing  will  be  taken 
up  in  detail  later  on;  and  entire  chapters  will  be  devoted  to  an 
exposition  of  their  merits,  their  applications  and  their  actual 
production. 


Fig.   13. — Pen   and   ink,   used   to  exrellent   purpose   to   pru\i<le  campaign  indi- 
viduality. 

Color  in  advertising  has  not  been  included  in  the  list  at  this 
time.  It  is  really  a  separate  department,  deserving,  as  used 
today,  a  volume  of  its  own. 

A  recent  study  of  advertising  illustrations  in  numerous  phases 
brought  out  the  fact  that  no  less  than  five  hundred  different 
techniques  were  now  in  use.  Although  often  inter-related  as 
to  school,  they  represented  extraordinary  resourcefulness  and 
imaginative  skill,  and  could  be  looked  upon  as  successfully 
individualizing  their  respective  campaigns. 

And,  in  selecting  the  artist,  the  medium,  and  the  technique, 
this  is  an  obligatory  rule.  Working  together,  they  should 
give  a  campaign  an  atmosphere  unreservedly  its  own.  That 
art  influences  the  public  in  matters  of  identification  is  unques- 
tioned. Some  years  ago,  a  magazine  and  book  illustrator 
created  a  style  which  was  so  distinctive,  so  original,  and  so 


30 


ILLUSTRATION  IX  ADVERT ISISG 


different  from  anything  then  appearing  that  the  advertising 
campaign  employing  it  was  Uftcd  high  out  of  the  magazine  pages 
and  out  of  the  conventional  rut.  Here  was  something  new 
at  last. 


Fig.    14. — An  exceediugly   modern  style  of  illustration,    wliich   combines  crisp 
outline  with  poster  areas  of  black,  and  the  judicious  use  of  wash  in  flat  masses. 

Hut  this  mannerism  of  style  did  not  escape  the  imitator.  It 
was  too  easy  to  copy,  once  an  oiiginal  pattern  had  been 
designed.  Soon  a  dozen  or  more  campaigns  came  out  with 
illustrations  of  a  like  character,  with  the  result  that  the  value  of 


Fig.  15. 

I^efl. — While  the  .subject  is  one  which  minht  bo  looked  upon  as  "commercial," 
the  iirtist  ha.s  given  his  illustration  the  unc^omniercial  and  "story"  flavor. 

Right. —  Decorative  handling  of  a  still-life  scene  which  could  very  easily  become 
commonplace. 

an  exclusive  art  technique  was  immediately  lost  to  the  original 
user  of  these  illustrations.  It  was  a  makeshift  for  all  the  others, 
due  to  the  fact  that  an  appreciative  public  had  grown  to  identify 


ADAPTING  THE  ART  MEDIUM 


31 


this  technique  with  one  campaign  and  its  product,  and  when  an 
epidemic  of  plagiarism  cropped  out,  people  were  never  quite 
sure  as  to  the  identity  of  the  thing  advertised. 

It  is  pointed  out,  with  emphasis,  that  no  advertiser  should 
in  any  way  imitate  the  illustrative  methods  and  styles  of  other 
advertisers,  competitive  or  otherwise.  The  entire  fabric  of 
advertising  is  weakened  when  this  is  done.  To  find  over  and 
over  again  in  a  magazine,  in  a  newspaper,  or  in  any  field  of  adver- 
tising effort  a  repetition  of  a  pictorial  manner  baffles  the  first 


Hn^°l| " 

rJL 

pl^ 

e 

iMH^HflH 

^M 

^s^^^^Sm 

Fig.  16. — Realism,  almost  photographic,  secured  in  a  scries  of  wash  originals. 

objective  of  art  in  advertising.  It  gives  a  "family  resemblance" 
to  these  campaigns,  which  should  most  positively  boast  a  pic- 
torial identity  of  their  own,  an  exclusive  atmosphere. 

The  most  prized  asset  an  advertiser  may  possess  is  this 
intensely  intimate  and  personal  atmosphere.  Just  why  some 
advertisers  should  feel  at  liberty  to  reach  out  and  adopt  the 
popular  vogue  of  another  is  not  quite  clear.  It  would  seem,  on 
its  face,  the  most  unbusinesslike  and  unethical  thing  imaginable. 
The  Atlantic  and  Pacific  Tea  Stores  have  adopted  the  policy  of 
painting  their  shop  fronts  a  brilliant  red.  Would  other  chain 
stores,  or  the  casual  local  merchant,  be  justified  in  doing  the 
same  thing?  Main  Street  would  confuse  its  customers  to  an 
alarming  extent.  It  would  require  considerable  searching  to 
locate  the  store  of  the  originator  of  the  idea. 


32 


ILLUSTRATION  IN  ADVERTISING 


Two  terms  have  been  employed  throughout  this  chapter, 
"technique"  and  "medium."  They  are  inseparable  as  used  in 
the  present  connection.  Technique  is  secured  by  the  use  of 
certain  mediums.  The  artist  who  works  wholly  in  tempera  may 
create  a  technique  at  once  distinctive  and  characteristic.  This 
is  equally  true  of  all  mediums,  and  because  they  have  very  materi- 
ally increased  in  number,  encouraged  by  reproductive  processes, 
advertising  profits  by  the  ever-changing  pictorial  background 
at  its  command.  There  need  be  little  monotony  and  a  mini- 
mum amount  of  duplication. 


Fig.  17. — Particularly  ingenious  blend  of  line  drawing,  with  halftone  tints 
and  splatter-work.  Ben  Day  textures  are  also  employed.  Became  a  dis- 
tinctive treatment  for  a  year's  advertising. 

A  manufacturer  of  kitchen  ranges  was  seven  years  in  bringing 
his  product  to  the  correct  point  of  visval  attractiveness.  Aside 
from  its  known  mechanical  perfection,  he  argued  that  the  looks 
of  the  range  was  equally  indispensable  as  a  business  asset.  For 
people  would,  in  a  measure,  judge  quality  by  how  the  product 
"filled  the  eye."  It  is  related  that  he  was  another  seven  years 
hitting  upon  an  art  atmosphere  which  served  the  same  psycho- 
logical purpose. 

Medium  is  rigidly  influenced  by  the  place  of  its  appearance  as 
an  advertisement.  If,  for  example,  a  series  is  to  concentrate  on 
farm  appeal  and  is  to  l)e  advertised  in  agricultural  publications, 
certain  things  are  prohibited.  Because  of  the  grade  of  paper 
stock  used  and  the  quality  of  the  printing,  provision  must  be 
made  in  advance  to  insure  adequate  results.  It  nuist  be  nj^parent 
that  involved  pen  techniques  or  fine  half-tone  plates  will  run  an 


ADAPTING  THE  ART  MEDIUM  33 

inevitable  risk  when  exposed  to  the  mechanical  vagaries  of  this 
field.  True,  some  agricultural  periodicals  use  better  stock  than 
othei-s,  and  some  take  infinite  i^ride  in  handling  the  most  involved 
plates,  but  the  aggregate  field  regulates  the  situation.  It  would 
mean  greatly  added  effort  to  individualize  plate-making  over  the 
entire  list. 

How  much  better  it  is,  then  to  recognize  limitations  in  advance, 
and  to  select  mediums  and  techniques  which  will  be  along  the 
lines  of  least  mechanical  resistance.  Newspaper  campaigns  of 
wide  distribution  introduce  the  same  approximate  hazards. 
To  select  arbitrarily,  as  an  instance  of  this,  half-tones  from  photo- 
graphs for  a  list  of  100  newspapers  in  various  parts  of  the  country, 
would  mean  challenging  the  inevitable. 

Some  illustrations,  where  conditions  are  ideal;  would  dis- 
prove the  theory  that  half-tone  work  for  newspaper  use,  is 
inadvisable,  while  the  showing  in  the  very  next  newspaper 
reproduction,  dim,  clogged  with  ink,  robbed  of  its  detail,  would 
as  surely  vindicate  the  practice. 

Mediums  and  techniques  are  dictated,  then,  by  several  fairly 
obvious  considerations. 

To  recapitulate  briefly: 

1.  Known   mechanical   limitations   of   advertising   schedule. 

2.  Extent  of  individuality  required  in  the  campaign. 

3.  Character  of  the  advertising's  atmosphere,  as  related  to 
the  product. 


CHAPTER  VI 
CONTINUITY 

Advertisers  have  found,  through  close  observation  and  tabula- 
tions kept  on  campaigns,  that  where  a  "family  resemblance" 
is  sustained,  throughout  a  series  of  advertisements  over  a  given 
period,  the  results  are  far  more  satisfactory  than  when  each  piece 
of  copy  stands  independently  as  a  unit,  unrelated  to  that  which 
has  gone  before  and  to  that  which  follows. 

These  "family  campaigns"  are  everywhere  in  evidence  and 
increasingly  popular.  Doubtless  they  will  constitute  one  of 
the  fundamental  fixtures  in  advertising.  Continuity  of  art  has 
much  to  do  with  their  success. 

Thus,  at  the  inception  of  a  campaign,  the  advertiser  hits  upon 
some  one  basic  theme,  whose  ramifications,  constantly  changing 
in  one  way  or  another,  nevertheless  revert  to  a  text  which  was 
given  in  the  initial  advertisement. 

The  problem  of  the  artist  is  automatically  decreased.  He  is 
not  at  a  loss  for  some  new  subject  with  every  individual  adver- 
tisement. He  has  only  to  brush  up  the  original  idea,  giving  it  a 
different  angle,  a  novel  twist  of  conception. 

Some  of  these  pictorial  backgrounds  endure  for  years,  and 
never  seem  to  outlive  their  usefulness,  at  last  becoming  a  fixed 
and  indestructible  part  of  the  selling  policy,  while  others  outlive 
their  usefulness  and  are  replaced  by  fresh  viewpoints. 

The  idea  finds  its  highest  degree  of  serviceability  in  providing 
the  advertiser  with  an  exclusive  "atmosphere"  where  the  field 
is  competitive  and  where  a  like  product  is  freely  exj)loited  in  the 
same  pul)lications. 

To  attract  and  to  hold  the  interest  of  the  public  in  the  face  of 
such  an  ever-growing  volume  of  advertising  is  no  small  respon- 
sibility. The  artist  here  finds  one  of  his  most  fruitful  oppor- 
tunities, and  many  advertising  successes  of  a  decade  can  trace 
their  campaign  successes  to  the  fertile  mind  and  talented  brush 
which  make  a  scries  say:  "I  am  unlike  all  others.     I  am  an  idea 

34 


CONTINUITY  35 

apart.  You  are  compelled  to  remember  mc  because  I  have  an 
individuality  wholly  my  own." 

Certain  campaigns  will  be  memorable  generations  from  now, 
and  should  have  a  place  in  this  chronicle,  as  examples  of  the  best 
of  their  kind. 

For  many  yeare,  one  advertiser,  the  Bon  Ami  companj'-,  has 
capitalized,  pictorially  a  certain  familiar  and  satisfactorily 
"human"  type  of  housewife,  whose  smiling  face  and  productive 
activity  about  her  home,  have  become  a  virtual  trade  mark. 
However  the  backgrounds  and  the  activities  may  change,  these 
busy  women  bear  a  common  resemblance.  Something  in  their 
simple  dress,  their  infectious  smiles,  the  very  cheerfulness  with 
which  they  tackle  the  cleaning  responsibilities  of  their  habita- 
tions, gives  them  cumulative  interest.  It  is  an  instance  of  subtle- 
ties of  art,  no  one  of  which  is  too  aggressive,  turned  to  excellent 
advertising  account.  You  will  always  know  a  Bon  Ami 
advertisement. 

Observe  with  what  a  great  degree  of  cleverness,  the  Vacuum 
Oil  Company  has  standardized  the  human  symbol  of  friction — 
a  leering,  devilish,  ghostly  character,  not  a  trade  mark,  in  the 
true  sense,  but  a  unifying  influence  running  through  the  cam- 
paigns of  years. 

The  only  danger  attendant  upon  the  use  of  such  pictorial 
devices  is  that  of  a  monotony  of  theme  or  a  sameness  of  the  general 
result.  If  this  creeps  in,  the  idea  ought  to  be  immediately 
abandoned.  But,  as  in  the  case  of  the  symbol  of  friction,  for- 
ever retarding  human  progress,  compositions  and  backgrounds 
change  with  such  surprising  celerity  that  the  public  is  not  con- 
scious of  a  too  great  insistence. 

The  most  simple  and  apparently  obvious  expedients  serve  the 
same  purpose  of  continuity.  A  shoe  manufacturer  employed 
with  such  pronounced  regularity  the  idea  of  life-sized  "portraits" 
of  his  various  models  of  shoes,  splashed  boldly  on  the  magazine 
page,  that  this  alone  finally  became  a  mark  of  advertising 
identification. 

Years  ago,  the  advertising  for  Perfection  oil  heaters  introduced 
a  contented  cat  crouched  in  the  friendly  glow  of  the  heater. 
It  was  a  visualization  of  perfect  comfort.  Everyone  knows  that  a 
cat  will  invariably  seek  the  snuggest  place  in  the  house  on  a  chilly 
day.  And,  from  the  inception  of  the  idea,  this  picture-thought 
has  characterized  all  Perfection  Heater  advertising.     However 


36  ILLUSTRATION  IN  ADVERTISING 

the  compositions  may  change  and  however  important  the  human 
interest  features  may  become,  the  sociable,  purring  tabby  is 
present — a  fixed,  unchangeable  Perfection  feature. 

California,  to  a  large  extent,  in  all  her  advertising  activities, 
has  made  characteristic  hand-drawn  lettering  a  mark  of  ready 
identification,  and  with  a  broadmindedness  which  makes  it 
apply,  not  to  any  one  advertising  account,  but  to  the  majority. 

A  refiner  of  motor-car  lubricant  allows  a  transparent  down- 
pour of  oil,  reproduced  in  color,  to  hold  public  attention  and  to 
unify,  not  alone  a  series  but  also  several  campaigns,  although 
the  main  illustrations  differ  widely.  The  appearance,  in  every 
display,  of  the  golden-colored  "skein"  of  Texaco  was  not  long  in 
making  its  impress  upon  consumer  consciousness. 

A  dentifrice  employs  the  idea  of  "the  danger  line"  and  visual- 
izes, by  means  of  a  dotted  path,  drawn  across  the  mouths  of 
all  characters  shown,  the  insidious  point  at  which  decaying 
enamel  begins.  Thus  the  advertising  is  differentiated  from  all 
other  competitive  pictorial  compositions. 

"Giving  wings  to  words"  is  a  catch  phrase  which  swings  open 
the  illustrative  door  for  a  typewriter  campaign,  and  permits 
the  artist  wide  latitude  in  accumulatively  engrossing  composi- 
tion, each  one  born  of  the  parent  idea,  as  winged  figures  become 
beautiful  symbols  of  the  language  of  the  keyboard. 

A  peculiar  technique  in  retouching  inanimate  subjects  some- 
times serves  as  a  sufficiently  characteristic  peg  upon  which  to 
hang  a  connected  series.  An  artist's  individuality  of  style,  of 
pen,  of  brush,  or  of  pencil  handling  can  be  made  to  serve  the 
same  purpose. 

A  coffee  campaign  has  cemented  its  physical  dress  by  the  quite 
simple  expedient  of  featuring  only  character  study  heads,  painted 
for  the  most  part,  by  the  same  artist  and  in  the  same  technique. 
These  heads,  coupled  with  hands  which  raise  dainty  coffee  cups, 
seem  to  spell  out  the  trade  name  of  the  product  at  every  appear- 
ance. Thus,  it  is  not  always  the  startling,  ingenious,  or  clever 
art  idea  which  dominates  the  "family"  plan.  Sticking  ever- 
lastingly at  some  peculiarity  of  form  or  argument  or  technique 
l)ecomes  the  i-oal  answer. 

One  advorliser  of  hoisery  drops  human  interest  illustrations 
altogether  and  concentrates,  season  after  season,  on  ornate 
border  effects,  devised  by  a  master-hand  in  this  dei)artment. 
And   the  charm  and  period  fidelity  of  the  decorations  provide 


CONTINUITY 


37 


Fig.  is. 

Left  and  Center. — "The  Shadow  of  the  Pen,"  as  a  standardized  catch-phrase, 
permits  the  varied  use  of  one  illustrative  theme  in  a  series  of  allied  advertise- 
ments.    Sameness  has  not  been  allowed  to  endanger  the  idea,  however. 

Right. — Throughout  a  year  of  advertising,  an  accumulative  pictorial  theme 
was  successfully  employed — namely,  to  introduce  animated  scenes  and  figures 
as  if  coming  from  the  mouth  of  the  reproducer. 


Fig.  19. 

Left. — Few  Auto-Lite  advertisements  appear  without  the  familiar  study  of 
the  dainty,  slippered  foot.  Its  repetition,  always  in  some  new  guise,  has  pro- 
vided campaign  continuity. 

Right. — To  elaborate  and  vnsualize  the  basic  selling  idea  of  "Wrought  from 
Solid  Silver,"  the  illustrative  scheme  shown  herewith  was  made  into  a  stand- 
ardized unit  for  use  always  in  all  advertising. 


38 


J  LLV  STRATI  OS  IS  ADVERT  I  SI  SG 


desirable  atmosphere  of  quality  appeal,  aside  from  giving  the 
scries   continuity. 

"The  shadow  of  the  pen"  is  a  characteristic  example  of  the 
dominant  idea,  brought  to  life  through  imaginative  illustrations, 
yet  never  permitted  to  get  into  a  rut.  In  the  series  referred  to, 
the  obsolete  methods  of  the  old-style  bookkeeper  are  raised  to 


Throughout  the  wliole  \\u\c  world 
are  Harrison  cooled  automobiles 

HARRISON  RADIATORS 


Fio.  20. — A  coiitiiuiity-idca,  whcroljy  bj-  placing  different  illustrative  themes  in 
the  mesh  of  the  radiator  of  automobiles,  a  connected,  serialized  storj^  is  told. 


ridicule  and  made  to  appear  painfully  inadequate,  as  compared 
with  modern  machines  with  almost  human  minds.  And  over 
all  the  manifold  activities  of  the  clerical  world,  a  great,  heroic 
pen,  casts  its  telltale  shadow.  Of  such  material  is  the  individual- 
zod  campaign  made,  aided,  of  course,  by  sympathetic  art. 
The  same  result  may  be  secured  in  dKTerent  ways;  some  of 
the  more  important  are: 


CONTINUITY 


39 


1.  Distinctive  borders,  adhered  to  with  continuity, 

2.  Technique  of  illustration. 

3.  Trade  mark  characterizations,  animated  and  put  through 
their  paces. 

4.  A  firm  symbol,  device,  or  insignia,  employed  as  a  standard- 
ized mortise  or  ornament. 

5.  The  story  of  the  product's  manufacture  or  the  interesting 
narrative  of  how  its  ingredients  are  obtained — perhaps  from  far 
countries,  illustrated  as  a  serial  might  be. 


Fiu.  21. 


Left. — A  widely  heralded  phrase,  suggesting  that  four  out  of  every  five  persons 
suffer  from  pyorrhea,  permits  an  illustrative  theme  with  clever  continuity. 
Changes  in  the  composition  give  needed  variety. 

Center. — The  pictorial  idea  was  originated  of  suggesting  the  Klaxon's  warn- 
ing by  means  of  a  forked  flash,  and  as  this  theme  plays  an  important  part  in 
every  illustration  throughout  a  connected  campaign,  the  proper  continuity  was 
sustained. 

Right.— The  traditional  thing,  in  advertising  underwear,  would  be,  of  course, 
to  show  people  wearing  the  garments  but  a  new  approach  was  devised  by  ani- 
mating merely  the  product  against  contrasting  backgrounds.  The  pictorial 
idea  has  been  used  for  several  seasons. 


6.  A  catch  phrase  which  is  filled  to  brimming  with  imaginative 
material,  employed  as  the  inspiration  for  a  series  of  illustrations. 

7.  The  adventures  of  a  certain  group  of  characters  who  are 
retained  for  the  period  of  the  entire  campaign. 


40 


ILLUSTRATION  IN  ADVERTISING 


Campaigns  listed  in  this  category,  as  a  matter  of  fact,  arc, 
indeed,  serial  stories  of  the  product,  but  the  physical  attribut<}S 
and  embellishments  are  depended  upon  to  call  the  public's 
attention  to  the  fact. 


The  future  of  your  motor 

depends  on  the    "film  of  protection 


Yf 


Uce  fiom  IvT 
:  AnJ  the  tc^ 
,  the  bcrt  mol 


T)K-niM  of  PROTECTION" 
ihin  a.  uuiv.  miunlll 
a>  iiUc.  lauth  <u  iinl. 


■n-  IS 

'In.  ti 

/'■■■; 

n 

^ 

frlcritin.  ThcTT  C4U«-  73',^  <i(  ail  msitur  repair., 
"n>ry  thintcn  t'lW  ii%'C5  of  more  niotors  rh«i 
•II  nth«T  causes  combincJ.  And  cvctv  mintitc 
you  drive  yaui  car  the>'  threaten  yotjr  motwr. 

^  motor^'tjoh 

Ir  U  TOur  rruitot'Oil's  }i>b,  aitd  ft  real  |ob.  tu 
mMtcr  hear  nud  fni.tion.  (t  u  rhi  tml/  u^t 
TO  prcvefU  trooblc.  l~he  oil  Jov»  this  by  foniv 
inn  3  thin,  icnirious  6lm  over  ill  iIht  vitjil 
pjrts  of  the-  motiiT.  l^n  oil'ldm  worht.  ii« 
wjy  Krr*oi»  the  uhirlinK,  flyrni:  surracc*  and 
prcvriiiA  d^nccruus  tnct.>l   to  metal  contact. 

But  the  film  itKll  niuM  tc  iMc  to  wfithannd 
the  con«-iat  menace  of  tcjrm^  ermdintc  fric- 
tion—the  U*h  ut~<«arinj:.M:or<:hirK  hi::<t.  Unthi 
that  punithmcnt  rh*:  film  cli>rdin;iiv  oil  btr^V* 
and  curl»  up.  Thri*uj!h  the  l-ioltn  hliu.  mrul 
rhafct  a^itut  metal  Iit-idK>u(  htcncm  trtt  up: 
utim,  you  don't  even  Lnow  voiii  ml  ha^  tdjld 


lit  K-ari.-.;:  i>t  a  ^urrd  t.ylui 

The  '^fim  of proUctum" 

thai  dot*  not  fail 


Why  tAc  chanrcs  w^ui  the  future  ot  jout 
motit.'  Give  your  motn  ihcbci*  (XrvMblepttv 
tet:tk>n  aeairut  >W«Jlv  hcai  and  frkiion.  Put 
the  Veedol  "dim  ol  protectton"  on  tht  Job. 

WhcrcvKf  a  dealer  dUrlavt  the  ntanttc  und 
Mack  Vc«ioI  itoi.  UkjIc  for  The  Ve^ol  Mo*..* 
ProTccoon  Guide."  i  chjrt  that  iclU  «4.uh 
V'etOol  «hI  yi>ur  c«i  tcqiiirc«  Aj>k  yiMir  dealer 
to  dram  your  crankc-iv  ainj  vrbi)  with  the 
cnrtcvr  Vcvdolotl. 

Tiilr>XV<-rOitSJr^Con)orpitun.ll  Rro«d. 
«^.v.Ncw  Ywrk,  Chu44»..MU  Sniih  Racine 
Avi^u*:.  SanFrjn.i^P.4MBrjnnjnSu«et. 


MoMtiH.  M  Ou  SttddU  Altai 


a-J  N'n.  EmgUnd  \ 


u  MiM  Iwjl  MiJ  hrtlom    , 


Fig.  22. — "The  Film  of  Protection"  automatically,  as  a  catch  phrase,  pro- 
vided the  advertiser  with  a  connected  series  of  over-chanKing  illustrations, 
thereby  "tying  the  campaign  together." 

Now  and  again,  a  trifle,  light  as  air,  carries  the  burden  of  this 
linked-together    family    of    advertisements,    proving    that    the 


CONTINUITY 


41 


expedient  need  not  necessarily  be  dominant  in  its  space  demands. 
When  "Real  silk"  advertising  made  its  bow  to  the  public,  a 
neat  little  illustrative  chord  was  sounded  which  has,  up  to  the 
present  time,  threaded  every  "piece  of  copy"  together  in  the 
most  modest  manner  imaginable — the  introduction,  somewhere 
in  every  display,  of  skeins  of  pure  silk,  from  which  single  threads 
branch  out,  arranged  into  artistic  border  effects  or  decorative 
lines. 


Fig.  23. — This  advertiser  of  underwear  gave  pictorial  continuity  to  the  idea 
of  summer  discomfort  from  heat  and  in  a  remarkable  series  of  pictures,  no  two 
alike,  adhered  to  this  accumulative  policy,  showing  the  plan  is  not  inflexible. 


The  examples  are  legion.  It  is  well,  once  such  a  series  is 
started,  to  have  the  art  prepared  by  the  same  persons  under  the 
same  auspices, 

A  comparatively  modern  innovation  of  the  family  art  tie-up 
has  taken  the  place  of  the  set  trade-mark  character  or  of  the 
company  insignia,  too  precious  to  be  tampered  with.  A  charac- 
teristic name  plate,  a  hand-lettered  signature,  once  sufficed  the 
advertiser's  needs,  but  that  day  has  passed  in  the  increased 
volume   of  advertising  and  its  many-sided   pictorial  features. 


42  ILLUSTRATION  IN  ADVERTISING 

The  campaign  for  a  new  product  will  do  well  to  study  the 
possibilities  of  a  connecting  art  idea.  Often,  such  ideas  are 
difficult  to  uncover.  They  bear  directly  upon  the  advertised 
article  itself,  or  they  may  draw  their  inspiration  from  sei-vicc 
performed  or  from  some  inherent  human  strength  or  weakness. 

There  is  undeniable  satisfaction  to  the  advertiser  in  the  knowl- 
edge, that,  at  the  expiration  of  a  prolonged  campaign,  represent- 
ing a  considerable  expenditure  of  money,  his  public  looks  upon 
the  advertising  in  its  collective  and  aggregate  sense.  Accidents 
often  bring  brilliant  art  ideas  to  the  fore.  An  initial  one-time 
layout,  a  picture  in  a  certain  technique,  a  characterization  of 
strong  human  appeal,  or  an  argument  visualized,  may  be 
expanded  into  a  series,  immediately  following  the  consciousness 
of  its  unusual  value. 


CHAPTER  VII 
DISTINCTIVE  TECHNIQUE  FOR  SERIALIZATION 

Individuality  of  art  technique,  in  any  of  its  moods  and  forms, 
is  often  made  the  indentifying  feature  of  an  entire  advertising 
campaign.  Where  some  serials  are  thus  unified  and  given  an 
exclusive  atmosphere  by  means  of  an  idea  rather  than  by  any 
individuality  of  embellishment,  the  continuity  which  is  to  be 
gained  by  an  exclusive  art  treatment  is  equally  popular. 

That  campaigns  profit  by  what  may  be  looked  upon  as  person- 
ality, an  established  atmosphere,  sympathetic  with  the  type  of 
product  advertised,  is  uncontrovertible.  This  need  was  by 
no  means  as  pronounced  during  the  earlier  period  of  advertising. 
Today,  the  volume  of  advertising  and  the  frequent  duplication 
of  certain  lines  and  products,  with  a  resultant  high-powered 
competition  obligates  the  campaign  to  establish  a  character 
peculiarly  its  own. 

When  an  advertising  schedule  becomes,  pictorially,  a  thing  of 
shreds  and  patches,  the  result  is  apt  to  be  confusing  to  the  public. 
It  would  be  as  inconsistent  as  to  change  the  physical  appearance 
of  the  product  at  frequent  intervals. 

It  has  been  shown  that  art  technique  often  assists  in  estab- 
lishing the  inherent  character  and  service  of  the  article.  A 
second  purpose  has  to  do  with  this  successful  tying  up  of  many 
separate  displays  into  a  connected  campaign  throughout  which  a 
definite  art  character  is  sustained.  Because  of  the  resourcefulness 
of  modern  artists,  technique  has  come  to  mean  such  compelling 
individuality  that  a  series  of  advertisements  will  rise  triumph- 
antly from  the  great  mass  of  such  material  and  leave  an  unfor- 
getable  impression  on  a  large  audience. 

With  no  other  feature  than  that  of  exclusiveness  of  technique,' 
a  campaign  may  dominate  its  field  and  arouse  a  country-wide 
appreciation  of  the  art  of  a  series. 

It  is  instructive,  to  examine  the  tactics  employed  by  several 
advertisers  who  have  carried  the  idea  to  a  climax  and  who  were 
inspired  to  do  it,  in  the  first  place,  by  a  commercial  need. 

43 


44  JLLUSTRATIOX  IS  ADVERTISING 

Gorham  magazine  advertising  has  created  noticeably  popular 
acclaim  on  the  strength  of  an  art  technique,  although  in  subject 
matter  it  undertakes  only  to  reproduce  well-known  articles 
commonly  identified  with  this  and  other  manufacturers.  It  was 
characteristic  of  competitive  accounts  that  photographs  were 
most  generally  in  use.  Certain  traditions  had  always  persisted. 
Therefore,  if  an  exclusive  character  were  to  be  established  and 
maintained,  the  Gorham  Company  knew  that  much  would  depend 
upon  art  work,  an  unaccustomed  and  a  new  technique. 

From  this  realization  was  evolved  an  extraordinarily  beautiful 
pen  treatment  which  carried  shading,  delicately  applied  ink 
lines,  lights,  and  shadows,  and  thoroughness  of  detail  to  hereto- 
fore unrealized  degrees  of  finality.  The  artist  painted  with  a  pen. 
Everywhere  intense  realism  was  expressed.  The  eye  seemed  to 
sense  the  sincerity  of  a  photographic  background  although  these 
were  no  mere  drawings  made  over  silver  prints.  Silver  forks, 
knives,  and  spoons  glistened  with  a  radiance  which  only  the 
camera  had  formerly  caught;  glassware  and  trim  candlesticks 
were  characterized  by  innumerable  tiny  tricks  of  natural  contrast, 
and  shadows  were  those  of  posed  and  photographed  realism. 
It  seemed  inconceivable  that  a  pen  and  some  drawing  ink  could 
be  made  to  perform  such  miracles! 

In  fact,  the  sheer  artistry  and  refinement  of  these  illustrations, 
their  atmosphere  of  completeness  and  charm,  and  the  obvious 
sincerity  of  their  portrayal,  could  be  sensed  by  the  veriest  amateur. 
They  stopped  the  indifferent  eye;  they  won  the  respect  of  the 
professional.     Theirs  was  an  aristocracy  of  technique. 

Advertising  had  brought  to  bear,  in  this  case,  a  method  of  pen 
handling  which  was  not  common  to  present-day  commercial 
studios.  Pedigree  flowed  from  an  ink  bottle.  But  quality  in 
the  execution  is  no  more  important  than  applying  a  technique  at  a 
I^sychological  hour  when  others  are  not  employing  it  for  a  similar 
purpose.  If  many  competitors  have  not  thought  beyond  art 
terms  of  the  camera  or  of  original  wash  illustrations,  then  it  is  a 
stroke  of  business  and  advertising  genius  to  seek  some  such  new 
atmosphere. 

An  advertiser  was  examining  a  series  of  magazine  sketches, 
in  preliminary  form,  as  the  outline  for  a  complete  program, 
when  it  occurred  to  him  not  to  have  new  and  detailed  illustrations 
paintfMJ,  but  to  reproduce  the  drafts  exactly  as  they  were,  retain- 
ing their  frank  crudities,  their  unfinished  sketchiness,  their  free- 


DISTINCTIVE  TECHNIQUE  FOR  SERIALIZATION 


45 


Fig.  24. — The  Gorham  campaign  is  a  very  striking  example  of  how  technique 
of  an  original  character  can  be  made  to  supply  accumulative  interest  and  dis- 
tinctive advertising  atmosphere.  The  artist  has  almost  literally  "painted" 
with  his  pen.     And  there  is  photographic  accuracy  throughout. 


46  ILLUSTRATION  IN  ADVERTISING 

dom  from  the  customary  labored  style  of  picture  he  had  been 
accustomed  to  using  in  all  previous  campaigns.  It  was  a 
daring  expedient  but  it  was  remunerative.  An  individuality 
was  secured  which  set  the  series  apart  from  more  than  thirty 
other  illustrated  campaigns  then  running,  for  the  same  type  of 
product. 

Wood  engraving  had  almost  gone  out  of  style  and  was  rarely 
met  with  save  in  rare  old  books  and  early  editions,  when  an 
enterprising  advertiser,  conscious  of  the  artistic  possibilities  of 
this  technique  as  applied  to  the  media  on  his  list,  found  a  veteran 
wood  engraver  who  designed  a  striking  campaign  of  original 
blocks.  Before  competition  set  in  and  the  field  was  his 
alone,  this  idea  accomplished  the  desired  objective — a  serialized 
individuality  of  style. 

It  may  be  true  that  there  is  nothing  new  under  the  sun  and 
that  for  every  technique  now  appearing,  there  is  an  exact  coun- 
terpart in  the  files  of  a  past  art  era,  but  any  advertiser  who  first 
resuscitates  one  of  these  schools  is  justified  in  his  contention 
that  a  new  technique  has  been  found. 

Technique  is,  in  the  last  analysis,  an  expression  of  the  indi- 
viduality of  the  artist,  and  the  years  bring  us  the  equivalent  of 
revolutionary  ideas  in  this  regard.  Advertisers  have  merely  to 
secure  the  services  of  these  artists  to  acquire,  for  the  time  being 
at  least,  an  atmosphere  exclusively  their  own.  It  is  unfortunate 
that  there  are  so  many  adaptions. 

Excellence  of  art  as  art,  perfection  of  draftsmanship,  docs  not 
alone  satisfy  the  advertiser's  demand  for  illustrations  which 
are  to  be  atmospheric  as  to  technique  and  individualistic  in  the 
matter  of  surrounding  a  product  and  its  campaign  with  exclusive 
dress.  The  thing  is  deeper  than  that.  It  is  believable  that  a 
picture  which  may  be  somewhat  weak  as  a  "work  of  art"  may 
serve  an  invaluable  advertising  purpose  because  of  its  technique. 

The  modern  advertiser  deliberately  commissions  illustrators, 
who  have  not  been  identified  with  commercial  work,  to  create 
drawings,  both  because  of  the  artists'  peculiar  methods  or  medi- 
ums, and  because  of  the  untranmieled  atmosphere  they  bring 
from  book  and  magazine  experience. 

Pen-and-ink  drawing  attracts  the  eye;  it  is  a  technique,  con- 
sidered as  a  whole  tliat  ai)poars  to  mystify  many.  The  brush 
holds  less  of  illusion  to  non-professionals,  the  i)ul)lic  in  general. 
A  pen  can  be  made  to  weave  these  fascinating  magic  tapestries 


DISTINCTIVE  TECHNIQUE  FOR  SERIALIZATION         47 

of  form  and  feeling.  Therefore,  it  is  only  natural  that  this 
medium  should  be  much  in  favor  and  that  its  practically  limitless 
range  is  constantly  i)roviding  original  atmosphere. 


Fig.  25. — Pen  and  ink  illustrations  of  a  peculiarly  intricate  and  detailed 
character,  used  to  supply  campaign  atmosphere  and  to  lift  the  scries  out  of  the 
commonplace.  It  is  almost  inconceivable  that  human  patience  could  be  trained 
to  produce  such  methodical  studies.     (Greatly  reduced.) 

The  Notaseme  illustrations,  reproduced  in  this  chapter,  are 
marvels  of  patient  and  unusual  pen  technique.  The  public, 
accustomed  to  seeing  such  products  pictured  in  wash  or  in  photo- 
graph, is  somewhat  startled  to  find  that  a  pen  can  so  perfectly 
elaborate  intricate  detail.     Pen  drawings,  therefore,  constitute 


48  ILLUSTRATION  IN  ADVERTISING 

promising  material  for  a  campaign;  thej^  are  practically  certain 
of  concentrated  attention  and  reflective  consideration.  "How 
is  it  done?"  is  a  query  which  need  not  make  the  advertiser  feel 
that  attention  is  divided  between  the  product  and  the  physical 
"non-essentials"  of  illustration.  An  old  subject  has  been  han- 
dled in  a  new  spirit  and  with  a  mysteriously  engrossing  technique. 

It  was  not  because  pen  and  ink  had  not  been  used  during 
prior  campaigns  that  the  present  Notaseme  series  immediately 
commands  respect  and  consideration,  but  because  the  artist 
has  handled  this  technique  with  a  fresh  vision  and  a  more  start- 
ling degree  of  painstaking  attention  to  intricate  detail. 

Elsewhere  in  this  volume  the  highly  diversified  techniques 
in  sundry  mediums  are  discussed  and  analyzed  at  length,  but 
each  application  has  brought  to  its  own  campaign  some  notable 
and  exclusive  feature,  an  individuality  which  was  made  a  busi- 
ness asset. 

An  advertising  technique  may  go  further  than  the  personality 
of  the  individual.  To  attract  attention  of  a  favorable  character, 
is  an  advertising  requisite,  in  the  hurrjang  traffic  of  campaigns. 
If  all  advertisements  wore  the  same  color  and  the  same  kind  of 
clothes,  what  would  be  the  inevitable  result? 

If,  on  the  other  hand,  a  technique,  in  its  desire  for  the  spot- 
light of  popular  public  attention,  overreaches  its  mark  and  sinks 
to  the  flagrant,  the  unreasoning,  the  illogical  and  the  super- 
sensational,  it  would  certainly  be  as  illegitimate  as  if  the  opinion- 
ate  and  self-sufficient  pedestrian  in  a  suit  of  vivid  vermilion  con- 
gested highways.     There  must  always  be  a  tempering  restraint 

One  advertiser,  overzealous,  turned  to  the  weird  and  inicom- 
promising  technique  of  the  futurist  for  a  scries  of  illustrations 
and  was  promptly  jeered  off  the  advertising  highway. 


CHAPTER  VIII 


DIRECTING  THE  EYE 


Advertising  art  is  far  more  subtle  in  leaving  some  things  to  the 
imagination  and  in  avoiding  blatant  overemphasis  than  it  once 
was.  At  one  time  advertisers  believed  it  necessary  to  point  out 
their  products  by  every  conceivable  illustrative  expedient. 

That  certain  campaigns  and  their  style  of  illustration  make 
emphasis  advisable  is  not  denied.  In  all  the  display,  there  is 
some   one   point   of   paramount   interest.     Perhaps   this   point 


Fig.  2G. — A  characteristic  example  of  directing  the  eye  to  the  thing  advertised, 

by  means  of  the  action  of  a  figure  composition.  The  five  persons  in  this  com- 
position gravitate  around  the  syrup  picture,  naturally  and  with  mininniin 
straining  for  effect.  It  is  wholly  possible  that  a  hungry  father  and  his  children 
should  make  much  of  the  breakfast  flapjacks  and  the  maple  syrup  which  increases 
their  appetizing  qualities. 

might  be  overlooked,  or  casually  considered,  due  to  surrounding 
detail  and  involved  accessories.  The  advertiser  virtually  says, 
when  he  employs  pictures  of  this  character,  "We  call  your  specific 
attention  to  this  one  feature."  But  there  is  a  saturation  point 
bej^ond  which  forcing  attention  is  really  dangerous.  The  reader 
takes  affront  at  the  advertiser's  presumption  of  reader  stupidity. 

49 


50 


ILLUSTRATION  IN  ADVERTISING 


Legitimate  reasons  for  the  use  of  attention-directing  art  devices 
are  numerous.     Some  of  them  are  as  follows: 

1.  Pictorial   presentation  of  a   product   which   is  ordinarily 
hidden  from  sight, 

2.  Calling  attention  to  service  performed,  when  the  action 
takes  place  beyond  easy  eye  range. 


Your  whole  lil'e  lon^- 
Acid-Emsion  tliMens  d 

THE  DANGER.  LINE 


Just  al  tk'  (diic  vtlhe  fiums 
-Thav  ii/icic  the  vnaimt  ends 
■Ihic  h  THE  DANCER  LINE 


Fiu.  27. 

Upper  Left. — A  "serialized"  attcntion-compeller,  which  was  made  the  foun- 
dation of  an  entire  series.  It  is  desirable  to  have  the  prospect  consider  a  certain 
point  just  where  teeth  and  gums  meet.     The  dotted  lines  does  this  admirably. 

Upper  Right. — Leaving  no  room  for  doubt  as  to  the  desire  of  the  advertiser 
to  call  specific  attention  to  hosiery.  As  a  general  rule,  such  obvious  bits  of 
staged  action  are  undesirable,  but  the  artist  has  skilfully  overcome  this  by  the 
beauty  of  his  drawing  and  the  pardonable  pride  of  the  attractive  figure. 

Lower  Left.- — Demonstrating  how  a  basic,  directing  device,  can  become  an 
important  feature  for  an  entire  campaign.  The  silhouetted  container,  on  which 
tlie  name  is  emblazoned  very  simply,  terminates  in  a  showing  of  Unguentine, 
and  this  acts  as  a  "pointer"  to  the  important  action  of  the  i)icture — a  wound 
which  requires  treatment.  The  plan  here  is  extraordinarily  effective  because  it 
automatically  features  the  name. 

Lower  Riyht. — -A  figure,  so  conceived  and  posed,  that  attention  is  drawn 
instantly  to  the  work  of  the  product — the  area  of  cleaned  floor.  Contrast  as  to 
pattern  surfaces,  and  the  lines  of  the  woman's  body  unite  in  making  a  "bulls- 
eye"  point  of  visual  contact. 


.3.  Emphasis  placed  on  a  trade  mark,  in  itself  unimportant  as  to 
size  and   relatively  insignificant  in  the  illustration  as  a  whole. 
4.  Elaborating  upon  a  feature  which  is  undramatic. 


DIRECTING  THE  EYE 


51 


Fig.  28. 

Upper  Left. — The  moving  stream  of  transparent  oil  was  made  the  eye-directing 
feature   of  an  entire  series  of  unified  advertisements. 

Upper  Right. — A  conventional,  but  business-like  method  of  directing  the 
eye  to  an  all-important  fact  in  the  advertisement.  By  his  personally  conducted 
tour  of  the  eye,  in  the  present  instance,  the  advertiser  wishes  you  to  know  that 
here  is  the  one,  dominant  argument  in  favor  of  his  product. 

Lower  Left. — Artistic  \ngnetting  of  an  original  crayon  and  wash  illustration, 
whereby  strength  of  values  tapers  off  from  the  article  advertised,  until  it  finally 
disappears.  The  little  slippers  are  in  complete  detail;  not  so  the  remainder  of 
the  drawing. 

Lower  Right. — A  small  snubber  on  a  large  automobile  would  not  make  very 
much  of  a  showing  if  photographed  normally,  but  when  the  car  itself  is  executed 
in  shadowy  outline,  in  grey,  and  the  snubber  presented  in  life-like  values,  the 
result  is  to  make  it  the  dominant  note  in  the  design. 


52 


ILLUSTRATION  IN  ADVERTISING 


5.  Sorting  out  a  small  product  which  must  be  shown  in  a 
picture  made  up  of  elaborate  detail. 

6.  Emphasing  a  standardized  trade  name. 

7.  The  product  Hmclightcd  to  avoid  human  interest  claiming 
first  attention  and  priority  of  visual  study. 

8.  Creating  visual  interest  in  one  important  technical  phase  of 
a  large  object. 


Ojfa  inur'DcrJiili  AiUv^'  ' 


Fio.  29.— Primitive  and  obvious,  but  never  failing  of  its  directing  purpose. 
An  arrow  is  a  symbol  of  both  speed  and  accurate  designation  and  sweeps  \'ision 
along  with  it,  however  old  it  may  be  as  a  de\'ice.  In  this  case,  looping  the  tail 
of  the  arrow  around  an  attractive  head,  provides  a  new  note. 


9.  Center-of-stage  position  for  an  important  bit  of  action. 
10.  Objects  not  inherently  interesting  or  attractive  made  to 
take  on  a  fictitious  importance. 

The  use  of  figures  and  of  vivid  characterization  in  modern 
advcrtishig  has  greatly  increased  the  need  for  pictorial  tricks 


DIRECTING  THE  EYE 


53 


which  will  counteract  the  power  of  human  interest.  Take,  for 
example,  an  illustration  showing  a  number  of  people  in  a  room 
and  the  article  advertised  as  anything  from  breakfast  cereal  to 
an  ornate  lamp:  the  characters,  if  in  action,  may  very  easily 
dominate  the  scene,  with  the  product  itself  a  poor  second.  This 
would  not  be  good  advertising.  Because,  when  all  is  said  and 
done,  the  function  of  the  illustration  is  to  sell  goods.  That  is 
its  excuse.     It  must  pay  for  the  space  it  occupies.     True  enough. 


Fig.  30. 

Upper  Left. — The  advertisement  talks  specifically  and  interestingly  of  the 
player-roll,  which  is  really  the  theme  of  the  message.  By  staging  the  action 
along  scientific  lines,  the  artist  also  concentrates  attention  upon  this  point.  A 
player  piano  roll  is  an  intricate  thing  and  the  interest  shown  in  it  is  therefore 
justifiable. 

Upper  Right. — An  admirably  conceived  figure  composition,  wherein  the 
various  characters  portrayed  concentrate  their  attention  on  the  product.  And 
just  as  these  men  look  first  at  the  Humidor  Sampler,  so  will  the  reader  join  in 
the  spirit  of  the  occasion. 

Lower  Left. — The  mechanical  solution  of  a  little  problem  in  featuring  a  difficult- 
to-feature  product.  Under  ordinary  circumstances,  the  article  advertised 
would  be  inconspicuous,  lost  in  the  preponderance  of  surrounding  detail.  In 
the  original,  the  enclosed  area  surrounding  the  Equalizer  was  run  in  a  brilliant 
red.     The  example  is  taken  from  an  automotive  journal. 

Lower  Right. — A  happy  example  of  a  figure  composition,  in  which  the  action 
is  so  staged  as  to  direct  vision  unerringly  to  the  receiving  set.  Moreover,  facial 
expressions  assist  in  this,  although  it  is  all  quite  natural.  Such  illustrations 
demand  intelligent  "stage  direction"  or  they  will  appear  forced. 


pictures  are  sometimes  for  atmospheric  purposes  only.  But 
the  great  majority  are  admittedly  commercial  and  are  members 
of  the  sales  force. 


54 


ILLUSTRATION  IN  ADVERTISING 


Fig.  31. 

Upper  Left. — The  pointing  finger  never  fails  of  its  objective,  and  while  the 
expedient  was  one  of  the  first  to  make  its  appearance  in  advertising — and  on  the 
public  highways — it  is  just  as  effective  as  ever.  Here  the  advertiser  has  expe- 
dited matters  by  eliminating  detail  from  the  bottle  itself. 

Upper  Right. — An  artistically  posed  photographic  study  of  hands,  with 
emphasis  placed  on  the  trade  mark  name  signature,  which  is  the  keynote  of  the 
advertisement.     It  is  accomplished  with  undue  affectation. 

Lower  Left. — It  is  expedient  for  the  manufacturer  to  direct  public  attention  to 
a  specific  feature  of  his  product,  in  this  case,  a  delicate  skein  of  blue  thread 
which  runs  through  the  core  of  a  trade-marked  rope.  It  is  a  mark  of  true  identi- 
fication. Vigorous  hands,  untwisting  a  length  of  rope,  suj^ply  action  which 
in  turn  directs  the  gaze  to  this  part  of  the  illustration. 

Lower  Right. — "Zones"  of  eye-interest,  frankly  mechanical,  but  justified  by 
the  intricate  points  the  advertiser  wishes  to  make,  while  designating  the  several 
talking  features  of  his  product.  Merely  discussing  thorn  in  the  text  would  not 
accomplish  this. 


DIRECTING  THE  EYE 


55 


When  an  artist  so  plots  his  story  and  his  composition  as  to 
bend  all  action  in  the  general  direction  of  the  product  advertised, 
he  fulfils  his  real  obligation.  Thus,  children  might  be  eagerly 
reaching  for  the  breakfast  cereal  or  a  contented  visitor  might 
give  visual  demonstration  of  the  comfort  and  utilitarian  virtues 
of  the  sitting-room  lamp.  It  is  when  such  carefully  staged 
dramatics  become  too  far-fetched,   unreal,   and  strained  that 


Fig.  32. — Despite  an  unusual  amount  of  distracting  detail,  represented  by  the 
dream  background,  the  eye  is  first  concerned  with  the  typewriter  which  is  the 
advertised  product.  Action  is  responsible  for  this,  the  alert  fingers  and  intent 
pose  of  the  boy  responsible. 

unpleasant  reactions  are  inevitable.  An  instance :  On  a  railroad 
crossing,  with  an  express  train  in  sight,  a  box  of  groceries  has 
fallen  from  a  wagon,  and  is  in  imminent  peril  of  being  demolished. 
The  driver  of  the  wagon  is  shown  running  pellmell  in  the  direction 
of  the  tracks,  bent  on  rescuing  the  product  which  is  concerned 
in  the  advertisement.  He  is  on  the  point  of  risking  his  life  for 
so  small  a  consideration. 


56  ILLUSTRATION  IN  ADVERTISING 

Such  illustrations,  being  false,  unnatural,  and  obviously  forced, 
defeat  their  own  purpose.  True,  the  eye  is  led  unerringly  to 
the  box  of  gelatine,  despite  a  preponderance  of  other  action  and 
detail,  but  the  picture  is  wrong  at  its  foundation.  The  reader  is 
asked  to  believe  that  this  simple  product  is  more  precious  than 
liuinan  life. 


Fi<;.  33. — A  narrative  type  of  picture,  80  ingeniously  thought  out  and  so 
skilfully  handled  as  to  composition,  that  the  watch  in  the  man's  hand  is  \-irtually 
a  visual  "Ijullseyc."  So  i)owerful  is  this  contact  that  not  even  the  smiling  face 
of  the  father,  looking  straight  out  at  the  reader,  proves  a  counter-attraction. 

It  will  be  well  to  summarize  the  conspicuously  successful  art 
methods  by  which  attention  is  concentrated  and  the  eye  made  to 
give  prior  consideration  to  some  one  element  in  the  illustration. 

Place  action  first  for  a  scientific  reason.  Even  the  most  slug- 
gish and  indifTeront  eye  responds  to  the  moving  object,  to  the 


DIRECTING  THE  EYE 


57 


suggestion  of  speed,  and  to  any  intimation  of  movement.  Action 
is  more  peremptory  than  the  pointing  finger,  the  arrow,  the 
(h)ttcd  line,  or  the  enclosing  circular  lines,  as,  say,  parenthesis 
marks.  Action  achieves  the  objective  in  a  natural  manner. 
There  arc  any  number  of  vivid  examples  of  this  newer  idea  in 
concentrated  attention,  such  as  the  transparent  flow  of  oil, 
used  serially,  for  an  automobile  lubricant,  a  falling  indestructible 
thermos  bottle,  a  fountain  pen  writing  its  own  messages,  a  salad 
dressing,  always  pictured  as  pouring  in  a  thin  stream  from  its 
container.  Action  is  invented  which  leads  the  mind  as  well  as 
the  eye,  to  the  article  advertised. 


^ 

(^7t^/^^^H 

1 

V^^ 

^Jm 

^ 

61^  "^CS 

Fig.  34.— An  example  of  indirect  attention-compelling  value.  The  eye  auto- 
matically turns  to  the  floor  which  is  being  splashed.  Product  advertised — 
varnish. 


In  figure  composition,  it  is  the  action  of  the  characters  that 
direct  vision.  As  they  look,  so  does  the  reader.  The  reaching 
hand,  the  concentrated  gaze,  the  smiling  features,  the  tilted  head, 
the  step  forward,  are  all  attention  riveters.  For  the  moment, 
at  least,  the  reader  enters  into  the  spirit  of  the  little  advertising 
play.  Therefore  it  is  entirely  possible  for  an  illustration  to 
carry  numerous  figures,  involved  story,  and  intensified  back- 
ground detail,  without  for  a  moment  sacrificing  the  due  which 
belongs  to  the  smallest  article  in  the  composition. 

Light  is  a  vigorous  directing  influence.  And  in  light  there  is 
action.  The  silhouetted  rays  of  sunshine  filtering  into  a  shadowy 
room,  the  blaze  of  automobile  headlights,  the  illumination  of  a 
lamp,  the  golden  deluge  breaking  through  storm  clouds,  and  the 
glow  from  a  window,  are  all  possibilities. 


58 


ILLUSTRATION  IN  ADVERTISING 


To  what  extent  light  can  become  an  active  principle  of  con- 
centrated vision,  is  shown  in  a  page  illustration  for  walnuts. 
There  is  no  visible  source  of  light,  but  by  warm  reflections,  dull 
yellows  and  red,  touches  of  contrasting  color,  the  walnuts 
become  oddly  animated,  if  this  word  may  be  employed.  The 
reader  does  not  actually  see  it,  but  an  open  hearth  somewhere 
near,  is  surely  responsible  for  the  lighting.  And  it  is  this  light- 
ing which,  despite  accessories  and  figures  in  the  background, 
draws  the  eye  directly  to  thing  advertised.  It  is  more  potent 
than  the  human  action. 


Fig.  35. 

Left. — An  illustration  of  the  homely  "human  interest"  school  wliich  nevethe- 
less,  despite  its  abundance  of  detail  and  its  three  characters,  cnanages  to  make 
the  product  dominant.  There  is  nothing  complex  in  this;  Grandmother  and  the 
younsters  are  shrewdly  "stage-directed"  to  guide  the  eye  to  Jello  and  the  making 
of  it. 

Right. — Attention  concentrates  upon  the  musical  instrument,  while  enjoying 
the  humor  of  tlie  composition  as  a  whole.  The  artist  has  so  composed  his  canvas 
that  accessories  and  action  "play  to  the  product"  admirably. 


Then  there  is  the  attention-compellcr,  which  is  largely  mechani- 
cal and  which  depends  upon  technique,  arbitrary  compositions 
or  unique  and  distinctive  devices  drawn  in  bj^  the  artist. 

A  manufacturer  is  concerned  only,  as  a  concrete  example,  with 
a  single  part  of  an  automobile.  It  may  be  a  very  small  accessory. 
Airbrushing  the  photograph  or  original  drawing  in  an  even 
tint,  save  where  the  product  appears,  presents  the  product  and 


DIRECTING  THE  EYE 


59 


fogs  the  remainder  of  the  illustration.  Such  designs  are  com- 
paratively easy  to  make.  A  semi-transparent  spray  of  white 
paint  is  blown  upon  the  exposed  surface,  gradually  cutting  down 
its  strength.  Adhesive  tissue  protects  the  advertiser's  product 
from  this  treatment  during  the  airbrushing.  By  covering  the 
tires  of  an  automobile  photograph  with  frisket  and  airbrushing 
every  other  part  in  white,  the  tires  would  be  strongest  by  con- 
trast, and  the  car  proper  a  specter,  although  complete  as  to  detail. 
Photographs  of  figures  may  be  handled  in  the  same  manner, 
although  retouching  by  a  more  artistic  process  is  the  preferable 


Fig.  36. — A  dramatic  method  of  featuring  the  advertised  article  in  an  illus- 
tration made  up  of  other  pictorial  ingredients.  The  coach  is  in  delicate  pen 
outline;  likewise  the  background  detail.  The  tires  are  in  wash,  and  therefore 
"stand  out"  in  a  telling  manner.  Such  effects  are  obtained  by  the  use  of 
combination  plates,  line  and  halftone. 

method,  since  it  allows  gradations  of  tint,  accidental  effects, 
and  vignetting  akin  to  an  original  illustration,  rendered  in  wash, 
crayon  or  pencil. 

Some  attention-compelling  art  tricks  form  the  basis  of  serialized 
campaigns,  advertisers  making  them  the  foundation  of  an  entire 
series  and  occasionally  of  a  connected  effort  covering  several 
years.  By  drawing  circles  in  white  or  in  black  around  the  mouths 
of  various  interesting  types  of  people,  an  advertiser  of  throat 
tablets  centralized  attention  at  this  point  and  illustrated  a  catch 
phrase,  "the  danger  zone." 

By  the  simple  expedient  of  stopping-out  the  teeth  on  pictures 
of  smiling  faces,  with  abruptly  drawn  da.shes  of  white,  another 
advertiser  conceived  a  standardized  attention-compeller  which 
was  used  continuously  for  several  years.  The  campaign  gained 
by  continuity  and  by  its  own  monthly  momentum. 


60 


ILLUSTRATION  IN  ADVERTISING 


There  are  certainly  occasions  when  an  advertiser  must  direct 
specific  and  concentrated  attention  to  one  part  of  his  product, 
while  illustrating  all  of  it.     It  may  be  some  exclusive  method  of 


Fk;.  liT. 

Left. — A  quiet,  unobtrusive  and  altogether  artistic  method  of  guiding  the  eye 
to  the  advertised  product.     The  more  subtle  compositions  are  sometimes  best. 

Right.— The  bed  and  its  coverings  require  no  pointing  arrow  or  other  device 
to  cause  the  reader  to  glance  undcrstandingly  in  that  direction 


Fig.  38. — The  i  he  figure,  admiring  the  artii'lc  hold,  plus  the  shrewd 

subduing  of  all  tones,  in  order  to  "bring  out"  the  sheet,  automatically  direct 
the  eye  to  it. 

manufacture,  some  feature  of  construction  which  gives  it  selling 
impetus,  or  a  mark  of  identification  not  usually  seen  or  looked 
for  by  the  purchaser. 


DIRECTING  THE  EYE 


61 


Why  this  New 
motor  Breathes 


I  iiqiiestion.ihl> 

die  mo!.t  popular 
driver  itsed  today 


BURKE 


Fig.  39. 

Upper  Left. — One  of  the  important  selling  arguments  of  this  product,  is  the 
fact  that  it  almost  literally  "breathes,"  thus  cooling,  automatically,  its  own 
fast-running  mechanism.  The  wisps  of  vapor,  leading  up  to  the  "gills"  of  the 
motor,  take  the  eye  along  with  them  and  the  advertising  point  of  contact  is 
quickly  established. 

Upper  Right. — However  much  action  and  human  interest  there  may  be  in  this 
animated  picture,  the  eye  fairly  races  to  the  small  watch.  Why?  Because,  in 
composing  his  illustration,  the  artist  has  placed  it  strategically.  All  motion 
leads  to  it.     The  story  is  constructed  around  it. 

Lower  Left. — Bringing  out  the  product,  over  all  other  detail  in  the  picture, 
by  means  of  intensifying  its  strength  in  the  rendering,  and  the  action  of  the 
hand.     Note  that  bag,  clubs  and  hand  are  all  in  "fadeaway"  art  treatment. 

Lower  Right. — No  arrow,  no  pointing  finger,  could  more  positively  lead  the 
eye  to  the  center  of  selling  interest — the  little  toy  bed  which  has  been  freshly 
varnished.  True,  this  toy  is  of  secondary  importance,  but  in  a  human-interest 
illustration  of  this  character,  it  deserves  the  lime-light. 


62 


ILLUSTRATION  IN  ADVERTISING 


And  these  cases  validate  what  might  be  considered  commercial 
devices  of  an  inartistic  type,  but  which  nevertheless  impress  the 
prospect  with  a  necessary  argument.  Trade  investigations 
brought  one  manufacturer  to  the  conclusion  that  whatever  else 
he  did,  his  advertising  illustrations  should  insistentl}'  call  atten- 
tion to  the  processes  of  production  which  carried  color  in  linoleum 
patterns  through  to  the  under  side,  thus  making  them  longer 
lived  and  more  serviceable.  Pictorially,  this  theme  meant  more 
to  the  trade  than  did  vistas  of  beautiful  rooms  and  painstaking 


Fig,  40. — Candy  plays  a  more  unpurtaiit   i):iri  man   ciiaractcrs  as  the  action 
leads  up  to  this  certain  visual  climax. 


reproductions  of  recent  patterns.  Arrows  in  black  and  of  widely 
different  shapes  and  sizes  were  featured,  and  the  linoleum  turned 
back  to  catch  the  arrow  contacts.  It  was  not  artistic  advertising 
but  it  was  advertising  logic,  applied  at  a  time  when  retailers  and 
road  salesmen  representing  the  company  alike  concurred  in  the 
strategic  wisdom  of  the  policy. 

Devices  such  as  have  been  described  arc  useful  as  pictorial 
demonstrators.  They  represent  that  periodic  emphasis  which  is 
a  desirable  quality  in  the  course  of  any  campaign. 

It  is  characteristic  of  advertised  products  today  that  they 
individually  boast  features  which  differentiate  them  from  com- 
petitive goods.  To  familiarize  the  public  with  such  elements 
is  more  significant  than  any  glorification  of  the  product  as  a  whole. 


DIRECTING  THE  EYE  63 

Such  ideas,  well  illustrated,  make  campaigns  non-interchange- 
able, and  it  is  so  often  contended  that  by  the  mere  exchange  of 
the  name,  one  series  of  displays  would  serve  just  as  well  for  like 
product. 

The  eye  remains  faithful  to  signposts.  Vision  is  as  surely 
guided  as  are  mental  processes.  In  advertising  design,  there  is 
nearly  always  one  dominant  point  of  visual  contact,  or  an  action 
or  a  detail  which  should  come  in  for  concentrated  study.  The 
artist  is  supplied  with  a  remarkable  equipment  for  forcing  vision 
to  do  his  bidding.  Such  illustrations  as  appear  in  connection 
with  this  chapter  prove  the  variety  of  his  implements  and  the 
imaginative  quality  of  the  pictorial  drama  he  has  grown  to 
employ. 


CHAPTER  IX 
THE  ILLUSTRATION  AS  THE  ADVERTISEMENT 

There  are  sharp  clashes  of  opinion  as  to  the  ethics  of  the  adver- 
tising illustration  which  is  a  unit  in  its  own  right  and  which 
carries  little  or  no  reading  matter. 

One  significant  fact,  however,  seems  to  be  overlooked,  that 
no  advertiser  makes  a  practice  of  the  method.  It  is  an  idea 
which  is  employed  now  and  then,  more  or  less  as  a  luxury,  per- 
haps, a  deviation  from  sameness,  or  a  relaxation.  It  is  rarely  done 
except  when  some  powerful  idea  is  aptly  visualized.  Unques- 
tionably, there  is  something  to  the  argument  that  the  reading 
public  is  asked  to  perform  a  heroic  and  seK-sacrificing  service, 
when  advertising,  in  the  aggregate,  day  by  day  and  month  after 
month,  offers  an  inexhaustible  cmbarassment  of  riches. 

The  self-sufficient  all-illustration  advertisement  is  introduced 
into  the  campaign  for  the  following  reasons: 

To  get  a  story  across  quickly. 

To  give  the  public  a  breathing  spell. 

To  highlight  a  continuous  campaign. 

To  provide  advertising  novelty. 

To  make  a  big  splash. 

To  put  across  one  dominant  thought. 

To  get  away  from  the  conventional  forms. 

To  surround  the  product  with  atmosphere. 

To  make  sure  of  the  maximum  reader  attention. 

Certain  advertisers  approach  the  problem  with  reasoning  which 
goes  somewhat  as  follows : 

There  will  be  literally  hundreds  of  advertisements  in  the 
magazine,  the  majority  of  which  make  heavy  demands  upon 
eyes  and  minds  of  the  reader.  It  is  not  Hkely  that  the  elaborated 
text  of  all  of  these  advertisements  will  be  digested.  This  is 
asking  too  much.  If,  therefore,  a  picture  can  be  originated  which 
shall  at  once  and  at  a  single  glance  tell  an  interesting  and  con- 
vincing sales  story  and  automatically  name  the  product,  it  is  apt 
to  :«,ttract  the  larger  percentage.     They  can't  overlook  it  or  pass 

64 


THE  ILLUSTRATION  AS  THE  ADVERTISEMENT 


65 


it  b}'.  There  is  an  approximation  of  100  per  cent  reader  value. 
It  will  be  impossible  to  turn  the  pages  of  the  publication  without 
seeing  the  advertisement  and  then  the  readers  are  held  on  two 
counts,  the  necessity  of  at  least  seeing  the  picture  and  the  added 
assurance  of  their  interest  because  of  the  unusual  and  spectacular 
character  of  the  display  and  the  idea. 

The    self-sufficient   advertising   illustration    is    not    unlike    a 
pictorial  and  descriptive  drop  curtain,  between  the  acts  of  a 


1:OMMUNITY  PLATE' 


Fig.    41. 

Left.- — The  Lady  of  Quality  speaks  volumes  for  the  product.  An  atmosphere 
has  been  created,  which  requires  no  lengthy  explanation. 

Right. — The  Cream  of  Wheat  page  suggests  that  the  product  is  the  conerstonc 
of  health  and  is  content  with  this  "reminder." 

play,  in  the  campaign  sense.  It  makes  few  exactions  and  it 
makes  it  easier  for  the  sluggish  mind  and  the  disinterestetl 
individual.  It  is  the  difference,  to  put  it  in  a  different  way, 
between  a  picture  gallery  and  a  library. 

But  it  must  be  granted  that  there  are  pictures  which  tell 
complete  stories  and  which  exact  the  most  assiduous  study  and 
retrospection.  Have  you  not  seen  persons  stand  for  a  long 
time  before  an  inspired  canvas.  The  imagination  is  given  free 
play,  where  there  is  only  picture.  Text  does  the  thinking  and 
the  dream  weaving  for  the  reader. 


66 


ILLUSTRATION  IN  ADVERTISING 


There  is  a  certain  famous  canvas,  a  battle  scene,  painted  by  a 
French  artist,  of  which  it  has  been  said  that  it  more  positively 
and  dashingly  describes  this  battle  than  five  chapters  of  descrip- 
tion in  a  history  of  the  period.  The  artist  has  painted  the  story 
with  a  brush. 

Advertising  makes  the  same  claims  for  certain  types  of  com- 
mercial illustrations.  They  are  labor  saving  where  the  public 
is  concerned.  They  conserve  time.  They  are  posters  in  minia- 
ture, and,  as  such,  serve  a  useful  purpose.  But  it  is  seldom 
contended  that  this  form  of  advertising  is  the  best  practice  when 


Fig.  42. — Could  words  add  very  much  to  this  charming  study  of  home  life. 
The  reader  will  visualize  his  own  story  of  a  refreshing  bath  in  an  immaculate 
bath-room,  and  the  equally  refreshing  sleep  which  naturally  follows.  Uncom- 
mercial, highly  artistic,  and,  as  reproduced,  page  size,  in  full  color,  a  welcome 
interlude  in  a  campaign  made  up,  for  the  most  part  of  more  business-like  views 
of  the  products  in  question. 


employed    continuously^    although    there    are    some    successful 
instances  on  record. 

Pass  down  the  salon  of  a  number  of  advertisers  who  have 
broken  in  upon  more  ethical  campaigns,  with  periodic  illustra- 
tions, complete  in  themselves.  Note  that  in  almost  everj^  case 
the  subjects  selected  and  the  picture  stories  told  are  so  complete 
and  so  convincing  that  they  are  no  more  than  written  arguments, 
put  into  another  and  very  delightful  form.  And  it  should  be 
remembered  that  pictures  have  universal  appeal.  They  were 
our  first  means  of  communication  They  arc  inherent  in  the 
progress  of  the  world. 


THE  ILLUSTRATION  AS  THE  ADVERTISEMENT  67 

Pictures  may  be  interpreted  by  all  races  and  those  who  speak 
ail  tongues.  They  require  little  or  no  translation.  Often, 
they  convey  messages  which  words  would  fall  short  of  bringing 
to  life.  This  is  particularly  true  of  sentiment,  of  romance,  of 
the  imaginative  qualities  of  people,  and  of  deeds. 

Here  is  a  picture,  in  charming  color,  of  an  attractive  mother 
placing  a  tiny,  sunny-haired  boy  in  his  crib.  He  is  chuckling, 
happy,  dimpled,  and  radiant  with  health.  It  is  the  twihght 
hour,  and  he  will  soon  be  in  dreamland.  Through  a  partially 
opened  door  may  be  seen  the  product  advertised,  an  immaculate 
and  ultra-modern  bathroom  with  gleaming  fixtures  and  appoint- 
ments. The  luxury  of  the  better  type  of  bathroom,  its  health- 
giving,  sleep-provoking  virtues  are  all  told  in  the  canvas,  without 
a  word  of  explanatory  text;  indeed,  it  would  appear  that  words 
are  superflvious  The  pictures  tells  the  story,  and  automatically 
creates  a  desire  for  such  a  bathroom  with  just  such  fixtures. 
True,  the  name  of  the  product  and  its  manufacturer,  together 
with  the  address,  is  appended,  as  a  sort  of  modest  postscript, 
but  in  no  other  place  does  copy  intrude. 

Now  study  the  page,  also  in  colors,  of  a  scene  in  a  Pullman 
car.  Two  fine  types  of  men,  at  ease,  lounge  back  in  their  chairs. 
A  well-groomed  porter  is  filling  their  glasses  with  a  widely  adver- 
tised beverage.  These  men  show  on  their  faces  every  essential 
copy  fact  that  : 

The  beverage  tastes  good. 

They  have  tried  it  before  and  know  it  is  good. 

It  is  crisp  and  cool  and  refreshing. 

They  prefer  it  to  any  other  brand. 

They  are  altogether  pleased. 

It  must  be  a  beverage  consumed  by  discriminating  men. 

It  is  available  everywhere — even  on  trains. 
The  picture  has  written  the  copy  for  this  advertisement  and 
has  done  it  ingeniously,  without  effort.  The  man  whose  eyesight 
is  poor  docs  not  have  to  adjust  his  glasses.  There  is  everything 
in  the  power  of  expression  and  in  a  created  artistic  atmosphere. 
These  are  indeed  translatable  into  words. 

No  advertisement  in  the  past  fifteen  years  has  caused  more 
controversy  than  a  certain  Jell-0  page  which  was  entirely  lacking 
in  text.  The  sole  printed  message  was  the  stenciled  name  of 
the  product  on  the  packing  case  around  which  the  entire  action 
revolves.     The  impression  created  by  the  picture  is  that  a  man, 


68 


ILLUSTRATION  IX  ADVERTISINd 


.V  .-.■  ■  ■:-!:Lv-^.j-g.'aa.«:jfttMia*a»aa<f  <ii^i»a»atogA>a 


COMML'MTV  IMATH 


1  i<;.  -i;i. 

Upper  Left. — Never  a  word  of  text,  aside  from  the  familiar  lettering  on  the 
package  of  candy.  The  advertiser  seeks  to  thus  periodically  familiarize  the 
public  with  a  business  asset — the  trade  mark  character  and  is  willing  to  devote 
the  entire  page  to  it. 

Upper  Righl. — One  of  a  scries  of  poster  pages,  in  which  whimsical  illustrations 
are  made  to  take  the  place  of  conventional  text. 

Lower  Left. — This  picture,  originally  reproduced  in  two  jjlca-^ing  colors,  from  a 
color  original,  really  docs  not  require  any  sales  copy  at  all,  although  two  words 
have  been  included.  The  expressions  of  the  faces,  the  thoroughly  natural 
posing  of  the  figures  and  the  story  woven  into  them  allows  the  reader  to  form 
his  own   quite   logical   conclu.sions. 

Lower  Riyht. — A  very  charming  example  of  dominant  illustration,  occupying 
practically  all  of  the  page  space,  and  imaginatively  conceived  to  allow  the  reader 
to  "write  the  text  for  himself," 


THE  ILLUSTRATION  AS  THE  ADVERTISEMENT  69 


Fig.  44. 

Upper  Left. — A  three-word  caption  is  the  sole  attempt  at  explanatory  text. 
But  is  reading  matter  necessary?  Very  obviously,  the  little  boy  knows  what  is 
good  and  is  giving  sister  the  one  important  present  in  all  the  world. 

Upper  Right. — -"People  have  no  time  to  read  long  copy,"  is  a  familiar  cry. 
Advertisers  who  suspect  that  there  is  some  truth  in  this  punctuate  campaigns 
with  such  simple,  direct  messages  as  the  above,  where  the  illustration  puts 
across  a  selling  message. 

Lower  Left. — The  only  text  appears  in  very  small  stenciled  letters  on  the  side 
of  the  packing  case.  It  indicates  that  the  crate  contains  a  certain  oil  range. 
Although  there  is  no  copy,  it  is  at  once  apparent  that  the  product  is  a  welcome  one. 

Lower  Right. — Storms  of  controversy  have  blown  over  this  mcmor:il)le  adver- 
tisement with  opinions  widely  divergent  as  to  its  value.  The  suggestion  is  that 
the  owner  of  the  case  of  Jell-0  values  it  almost  as  much  as  he  does  his  life. 


70  ILLUSTRATION  IN  ADVERTISING 

living  in  the  outlying  districts,  is  homeward  bound,  (hiving  a 
team  of  horses.  A  case  of  the  product,  which  he  is  taking  home 
because  it  is  good  enough  to  buy  in  bulk,  has  dropped  from  the 
end  of  the  wagon  and  fallen  on  the  track  of  a  railroad.  A  train 
is  approaching  rapidly  around  a  bend.  Soon  it  will  destroy  the 
box.  And  up  the  road,  pellmell,  runs  the  man,  intent  on  rescu- 
ing this  prized  possession.  Not  even  an  oncoming  engine  can 
stop  him. 

The  contention  is  made  by  some  that  this  is  a  gross  exaggera- 
tion, that  no  sane  person  would  risk  his  life  for  a  box  of  Jell-0 
and  that  it  is  an  impossible  situation.  Nevertheless,  it  has  been 
one  of  the  most  discussed  advertisements  of  years.  A  great 
man}'  people  have  commended  it  and  smiled  over  its  amusing 
drama.  It  is  not  within  the  province  of  this  volume  to  pass 
upon  advertisements  such  as  this  either  its  approval  or  condemna- 
tion. The  illustration  is  given  as  an  example  of  the  type  of  all- 
picture  display  which  tells  a  story  directly  associated  with  the 
product. 

Passing  along  the  salon  canvases,  one  now  comes  to  a  picture 
beautifully  conceived  and  painted,  and  as  expertly  reproduced 
from  full-color  plates.  It  is  also  for  Jell-0  and  is  one  of  the 
same  remarkable  series. 

Scene — a  dim  room,  a  library,  with  a  central  table  upon  which 
wedding  presents  are  piled  high — silver  and  gold  and  cut-glass 
gifts  in  a  gorgeous  assortment.  On  the  floor,  there  are  silver 
spoons  in  cases,  vases,  a  clock,  obviously  hastily  removed  from 
the  table,  to  make  room  for  what  a  small  boy  considers  of  greater 
importance.  It  is  a  box  of  Jell-0,  tied  with  a  white  silk  bow. 
This  is  his  gift  to  the  sister  who  is  to  be  married  which  he  lifts 
into  place  with  tender  solicitude. 

Since  so  many  persons  are  frankly  sentimental,  a  picture  of 
this  type  is  assured  of  a  friendly  and  receptive  audience,  in 
advance.  Women  will  appreciate  and  understand  it.  They  will 
recognize  that  the  little  boy  has  tasted  Jell-0  and  knows  how 
appetizing  it  is,  and  that  sister  has  been  similarly  impressed. 
Now  she  is  going  away,  and  she  will  miss  her  favorite  dessert. 

The  ideal  illustration  advertisement  tells  a  story  which  is 
instantaneously  worked  out  by  the  person  looking  at  it  and 
experience  proves  that  it  is  a  privilege  people  very  much  enjoy. 
The  product  advertised  invariably  holds  the  center  of  the  stage. 
Action  is  made  to  move  around  it. 


THE  ILLUSTRATION  AS  THE  ADVERTISEMENT  71 

Sometimes  the  story  is  one  of  a  service  performod;  at  other 
times,  the  narrative  has  to  do  with  pleasures  accruing  from  the 
use  of  the  thing  advertised.  After  all,  it  is  advertising  in  its 
most  primitive  and  methodical  mood.  It  dispenses  with  explana- 
tions and  reasons  why.  It  makes  its  point  by  virtue  of  ideas, 
situations,  and  expressions  of  faces.  On  other  occasions,  an 
advertiser  may  desire  to  emphasize  a  trade  mark,  a  product,  or 
an  advertising  character,  which,  in  the  past,  have  been  relegated 
to  some  rather  obscure  corner. 

The  basic  idea  of  the  advertisement,  which  is  all  picture,  has 
been  validated  to  a  large  degree  in  recent  years  by  the  type  of 
art  employed.  Artists,  temperamentally  equipped  to  put  heart 
and  soul  into  such  canvases,  provide  studies  which  dignify  them 
to  an  unprecedented  extent  and  the  pubhc  is  not  unconscious  of 
this  fact,  because,  very  often,  these  illustrations  are  signed,  and 
these  signatures  carry  prestige  and  respect. 


CHAPTER  X 
ILLUSTRATIVE  BORDERS  AND  MORTISES 

There  arc  purists  in  advertising  who  stoutly  maintain  that 
every  part  of  an  advertisement  should  assist  in  selhng  goods  in  a 
thoroughly  practical  manner.  Thus,  where  borders  or  type- 
mortises  are  arranged,  they  should  be  made  up  of  selling  ingredi- 
ents. Why,  then,  form  such  devices  of  irrelevant  material? 
Make  the  border  an  illustrative  theme  in  itself.  IMake  it  earn  its 
way. 

A  series  of  layouts  was  submitted  to  a  man  of  practical  mind, 
and  he  took  exception  to  the  simple  black  lines  which  had  been 
suggested  as  an  unassuming  mortise  design.  It  was  his  contention 
that  these  black  lines  occupied  space  which  cost  money,  and  that 
they  failed  to  justify  themselves,  because  they  meant  nothing. 

The  product  advertised  was  hosiery  manufactured  of  pure  silk. 
When  challenged  to  show  how  anything  of  a  practical  character 
could  })e  done  in  that  limited  space,  this  resourceful  man  created 
an  idea  which  was  used  for  years.  From  silk  worms  and  from 
spools  and  twists  of  silk,  threads  were  drawn  out  and  made  to 
form  attractive  borders.  It  will  be  observed  that  without 
increase  of  space,  what  had  formerly  been  a  mere  rule,  a  pen-and- 
ink  line,  was  made  to  suggest  silk  thread  and  therefore  linked 
up  with  the  article  advertised. 

This  instance  is  mentioned  because  it  shows  the  modern  trend 
in  the  direction  of  intensely  practical  ideas  throughout  a  display. 
Everything  is  put  to  work.  Where  the  basic  plan  of  the  cam- 
paign calls  for  unique  mortise  spaces  for  text,  or  where  decorative 
borders  are  considered  advantageous,  they  can  easily  be  given 
an  atmosphere  which  is  in  complete  sympathy  with  the  jiroduct. 
Borders,  however,  may  be  employed  for  a  specific  purpose 
irrespective  of  the  character  of  the  product.  Where  an  advertiser 
seeks  to  create  an  artistic  atmosphere,  pure  decoration  accom- 
plishes this,  in  any  of  its  beautiful  period  forms.  Nothing, 
therefore,  in  the  substance  of  such  borders  is  asked  to  tell  a  story 
or  to  picture  a  product.     Its  artistry  suffices  to  achieve  a  desired 

72 


ILLUSTRATIVE  BORDERS  AND  MORTISES  73 

objective.  It  is  a  frame,  a  bit  of  tapestry,  a  setting  for  a  more 
important  unit.  Advertisers  can,  with  profit,  expend  thousands 
of  dollars  on  pure  period  decoration,  regardless  of  the  article 
advertised,  and  justify  the  expenditure  and  the  idea.  By  its 
own  inherent  grace  and  charm,  it  accomplishes  for  an  advertise- 
ment what  good  clothes  and  good  breeding  would  accomplish 
for  a  man. 

The  present  chapter,  however,  has  less  to  do  with  decorative 
affects,  than  with  trick  mortises  and  borders,  within  which  the 
major  message  is  set  and  which  are  largely  pictorial.  Often,  a 
product  itself  becomes  the  mortise. 

It  will  be  comparatively  easy  to  illustrate  the  point  by  referring 
to  several  campaigns  which  have  made  a  feature  of  this  practice. 
A  lumber  company,  manufacturing  frames  for  doorways  and 
windows,  undertook  to  tell  its  message  to  the  consumer.  Previ- 
ously, the  advertising  had  been  addressed  wholly  to  builders, 
contractors,  and  architects.  And  with  the  consumer  in  mind,  the 
campaign  must  be  given  added  elements  of  visual  interest. 

In  page  space  it  was  found  possible  so  to  mortise  out  technically 
correct  and  detailed  illustrations  of  the  frames  as  to  leave  space 
inside  for  both  type  and  panoramic  pictures. 

This  idea  may  have  been  less  artistic  than  complicated  decora- 
tive border  effects,  but  from  a  practical  standpoint  it  served  a 
far  more  constructive  purpose  than  non-committal  themes 
because  of  the  detail  material.  The  workmanship  and  technical 
features  of  these  frames  could  be  visualized  in  large  size,  w^hereas, 
in  the  main  pictures,  the  views  were  long  range  and  lacking  in 
manufacturing  detail.  Every  page  in  the  series  spoke  the 
language  of  the  product.  The  product  itself  comprised  a  dis- 
tinctive border  for  the  message.  It  was,  therefore,  a  border 
which  meant  something. 

The  application  is  simple  enough  where  the  product  lends  itself 
to  such  art  treatment.  The  door-frame  is  a  natural  mortise.  So 
would  be  a  piston  ring,  such  as  is  reproduced  in  this  chapter. 
But  not  all  articles  fall  in  with  the  spirit  of  the  idea  and  it  is  here 
that  resourcefulness  is  necessary. 

A  not  unimportant  consideration  is  the  fact  that  where  the 
product  proper  is  mortised  out,  its  showing  is  heroic  as  to  size. 
An  advertiser  of  fine  handkerchiefs  achieved  a  distinctive  series 
for  a  year's  campaign,  by  placing  neat  blocks  of  text  within  the 
detailed  outlines  of  the  handkerchiefs.     White  linen  admirably 


74 


ILLUSTRATION  IN  ADVERTISING 


Fig.  45. 

Upper  Left. — What,  could  1)0  more  appropriate  for  this  atlverliscr,  as  a  frame 
than  his  own  goods,  inKonioiisIy  mortised  out? 

Upper  Right. — A  manufacturer  of  plush  upholstery  for  automobiles  frames  his 
story  and  illustration  in  the  product  itself. 

Lower  Lrfl. — The  Arrowhead  brand  features  an  arrowhead  as  its  trade  mark 
and  in  order  to  familiarize  the  public  with  this  identification  design,  it  was 
made  the  simple  yet  effective  border  sc^hemc  for  a  year's  schedule  of  advertising. 
How  much  bcKer  than  mere,  incaninKless  lines! 

Linvcr  liigfit. — -'rho  charm  and  artistic  merit  of  this  composition  is  by  no  means 
sacrificed  because  the  product  forma  the  natural  mortise  for  text. 


ILLUSTRATIVE  BORDERS  AND  MORTISES  75 

permitted  this,  and  it  was  only  necessary  to  use  discretion  in 
the  amount  of  type  and  its  placing. 

A  little-realized  virtue  in  this  connection  has  to  do  with  con- 
centration of  reader  attention.  A  unique  hedge,  or  wall,  has 
been  erected  around  the  reading  matter.  It  is  confined  on  all 
sides,  not  by  meaningless  border  lines  and  decorations  but  by 
the  thing  which  is  being  described  in  the  text. 

There  are,  nevertheless,  a  number  of  restrictions.  It  is  seldom 
advisable,  for  example,  to  superimpose  text  over  the  detail  of  a 
product's  background.  If  the  product  can  be  opened  up,  cleared 
of  accessories  and  confusing  matter,  then  well  and  good.  The 
handkerchiefs,  for  example,  were  drawn  in  line  and  their  centers 
were  white  paper  against  which  type  could  be  compactly  set. 
To  photograph  the  object,  and  allow  reading  matter  to  be  super- 
imposed over  the  resultant  screen  would  have  been  far  less 
successful. 

By  spreading  one  section  of  an  automobile  tire  chain  out  and 
by  allowing  the  two  side  chains  and  the  two  cross  sets  of  links  to 
form  a  natural  mortise,  an  advertiser  was  automatically  provided 
with  a  serialized  layout  scheme,  admirable  for  his  purpose. 

To  cut  out  a  mortise  in  the  heart  of  a  product,  deliberately 
and  arbitrarily,  is  not  a  legitimate  means  of  arriving  at  the  type 
of  illustration  herein  described.  The  article  itself  must  form  a 
natur-al  and  unaffected  border. 

Sometimes  a  trade  mark  can  be  used  advantageously,  when  it 
seems  desirable  to  emphasize  such  symbols  and  give  them  unfor- 
getable  prominence.  A  line  of  hosiery  bore  the  name  "Arrow- 
head," with  a  trade  mark  composed  of  the  head  of  an  old-style 
flint  spear-point.  Here  was  a  distinguishing  symbol  which 
could  easily  be  made  a  business  asset.  The  advertiser,  in  this 
case,  gave  distinctive  border  outline  to  an  entire  campaign  by 
surrounding  pictures  and  text  with  the  contour  of  the  arrowhead. 
Sketchily  drawn,  it  was  no  more  than  a  line,  but  it  supplied  the 
advertising  with  a  distinctive  and  exclusive  physical  identity. 
Pictorial  borders  need   not  necessarily  be  the   product  itself. 

A  maker  of  out-board  motors  for  small  crafts  Avithout  power  of 
their  own  devised  w'hat  may  be  looked  upon  as  an  invaluable 
trade  mark  mortise  scheme.  He  placed  illustrations  of  boats 
at  the  top  positions  in  layouts  and  so  shrewdly  mortising  out 
the  lively  wake  of  the  water,  that  it  permitted  liberal  space 
for  text. 


76 


ILLUSTRATION  IN  ADVERTISING 


What  the   makers 
of  vour  ru"S  sav 


>  JohnS'Manville 

»       Improved       . 

Asbestocel 

—  saves  coal 


M£KAY    TIRE   CHAINS 


"TVl^K 


Fig.  4G. 

Cppcr  Left. — Tho  ol)vi()us  thing  to  do,  whore  an  advertiser  desires  to  form  a 
mortise  of  the  product  itself.  Always  efTectivc,  there  is  not  a  detail  in  the 
fomposition  which  wastes  si)aco.  Moreover,  observe  the  heroic  showing  of 
tlie  tire. 

Cppcr  Right. — The  product  itself,  an  electric  vacuum  cleaner,  is  not  employed 
as  a  border  theme  but  a  mortised  rug  of  decorative  design  serves  an  equally 
busines.s-like  purpose. 

Lower  Left. — The  product  has  all  to  do  with  heat  pipes  and  tliis  border,  there- 
fore, is  made  to  "pay  its  way"  because  it  is  the  copy  theme. 

Lower  Ri(/hl. — \  successful  mortise  for  text  supplied  by  border  made  of  the 
product.  The  advantage  is  two-fold,  because  it  supplies  a  border  which  is 
wholly  relevant  and  which  automatically  disposes  of  the  problem  of  picturing 
the  tire  chains  in  detail. 


ILLUSTRATIVE  BORDERS  AND  MORTISES 


77 


In  order  to  decide  the  possibilities  of  the  idea,  as  appHed  to  any 
one  product,  an  analysis  of  its  service  and  its  character  must  be 
encouraged.  An  attractive  container  of  coffee,  for  example, 
would  not  seem  to  hold  forth  many  opportunities.  To  mortise 
out  the  front  of  the  can  would  destroy  the  sole  marks  of  identifica- 
tion. Therefore,  it  would  appear  impractical  to  apply  this 
pictorial  plan  to  the  product. 

Nevertheless,  an  entire  year's  schedule  was  built  around  the 
border  idea  of  pictorial  mortises,  and  a  distinctive  newspaper 
and    magazine    campaign   was   evolved.     The   following   basic 


Fig.  47. 


-A  hotel  restaurant   features  its  exotic  "Congo"  Room  and  forms  a 
decorative  border  of  just  the  right  atmosphere. 


layouts  may  be  mentioned,  as  indicative  of  the  elastic  nature  of 
the  series: 

Top  of  coffee  cup,  with  steam  rising  from  same  mortised  for 
text. 

A  large  coffee  cup  and  saucer,  the  face  of  the  cup  made  to 
hold  the  message. 

Can  tilted,  and  coffee  beans  spilling  out  in  oval  form  to  pro- 
vide mortise  space. 

A  coffee  pot  of  the  old  style  mortised. 

A  modern  percolator  treated  likewise. 

A  large  coffee  bean,  stippled  on  one  side,  and  left  open  in  the 
center,  for  text. 

Coffee  plantation  scene,  its  foreground  detail  mortised. 

Every  composition  suggested  the  subject,  and  while  the  actual 
product  was  not  made  into  a  pictorial  frame,  entirely  relevant 
material  served  a  satisfactory  purpose.  This  rule  may  be 
applied  to  almost  any  article. 

The  border  of  an  advertisement  is  to  be  likened  unto  the  pro- 
scenium arch  of  a  theatre.     Many  varied  scenes  are  staged  in 


78 


ILLUSTRATION  IN  ADVERTISING 


the  same  space,  but  the  arch  remains  the  same,  as  a  rule.  In 
some  theatres,  the  proscenium  decoration  is  of  such  an  aggressive 
character  that  it  actually  detracts  from  the  play  and  its  scenic 
investure. 

A  well-known  manager  insists  upon  so  disguising  the  base  of 
this  proscenium  arch  in  his  own  theatre  that  it  takes  on  the  spirit 


The  t^itiThe 

Handy  jftf  Handy 

Oil   //VlCan 


{f^ndy  Oil  CaJl 
Three  IN  ONE  OIL 

PREVESTSRVST 
LUBRICATES 
CLEANS  AND 
POLISHES 

TALKING  MACHINES 

SEWING  MACHINES 

TYPEWRITERS   & 

ELECTRIC  FANS 
RAZORS  &  STROPS 

i         fire-arms 
„__>  Jmagnetos:cohmutatoR^ 

hjj?"*"i CASH  REGISTERS  t  LAWN 

Piiiy^''*'  l-'SHT  MACHINERY,  ETC- 

'''*0S.  FURNITURE  &  WOODWORK- 

I^REE  IN  ONE "oTlCOMP^ 
DOUWi-      "  "" 


Fiu.  48. 

Left. — Bold,  simple,  with  no  attempt  to  deal  in  subtleties,  this  composition 
features  the  container  as  a  mortise  for  text. 

Right. — Effective  indeed,  and  business-like  is  this  frank  use  of  the  frame  as 
an  attractive  border  for  both  text  and  allied  illustration.  Commercial  it  may  be, 
but  the  advertiser  does  not  seek  a  highly  artistic  composition. 


of  the  play  which  he  is  giving  to  his  public.  It  is  a  drama  of 
Japan,  and  special  ornamentation  is  built  around  the  arch  which  is 
Japanese  in  spirit;  or,  it  is  a  play  concerning  fisher  folk  of  the 
Maine  coast,  and  nets  are  draped  over  it.     The  idea  is  primitively 


ILLUSTRATIVE  BORDERS  AND  MORTISES 


79 


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SIMMONS 
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ual  |,:-.u.-vsul'dra«n.^'  , ^.--■. 

^••Ui  ur  I'tatinumguU  uvcr  ^  !(.)•» 
■  ■\pttnsivc  baae  metal.  They  arc 
IvaJuM  in  wntch  chain  fashion  as 
uoll  a^  in  durnUiliiy. 

From  his  holitlay  aswjrrmcnt 
\  ->iir  jeweler  win  bt  glad  to  show 
you  sryk-s  iin<i  link  ilc:»igits  appro- 
priate to  men  of  »]ttfcrent  ages  anil 
octHipiitiuns.  Simmons  Chain*  arc 
re3bon.ili|y  pntcd     M  to  J115. 

R.  R  SIMMONS  COMPANY 
Attlekiro  MaMachuseir« 


Fi.i.  49. 

Left. — The  question  is  answered  by  the  product,  which,  skilfully  arranged  as  a 
border,  forms  a  question  mark. 

Right. — Is  it  not  admissible  to  say  that  forming  the  border  and  type  mortise 
of  the  product,  in  this  series,  is  far  more  sensible  than  if  mere  decorative  themes, 
or  familiar  straight  rules  were  used?  It  is  possible  to  show  the  goods  actual 
size,  moreover. 


80  ILLUSTRATIOX  IN  ADVERTISING 

obvious.  But  this  producer's  arguments  in  favor  of  his  phm  are 
akin  to  the  needs  of  advertising.  He  beheves  that  everything 
of  the  environment  should  be  in  sympathy  with  the  play  he  is 
producing.  There  must  be  nothing  to  detract  or  to  clash. 
He  might  even  burn  oriental  incense  during  the  run  of  the  oriental 
play.     It  is  all  helpful  atmosphere. 

Borders  for  advertisements  are,  therefore,  proscenium  arches. 
They  can  be  plainly  irrelevant,  or  they  may  be  keyed  to  fit  the 
mood  of  the  little  advertising  play  which  is  being  produced  for 
a  large  and  discriminating  audience. 

The  subject,  as  a  whole,  in  important,  because  often  those 
advertising  displays  which  are  most  significant,  individual, 
impressive,  and  compelling,  are  based  on  the  pictorial  border, 
formed  of  the  product  or  allied  interests.  A  manufacturer  of 
cigars  places  his  text  within  the  magic  circle  of  a  ring  of  smoke; 
a  maker  of  soap  individualizes  his  campaign  by  setting  text  within 
the  colorful  outline  of  bubbles  or  of  frothy  lather.  His  borders 
mean  something  and  are  interestingly  decorative  at  the  same 
time. 

It  transpires,  moreover,  that  a  product  is  of  such  a  peculiar 
shape  that  to  emphasize  this  contour  becomes  of  very  practical 
selling  assistance  in  an  advertising  campaign.  The  maker  of  a 
non-skid  tire  had  a  tire  tread  design  which  was  unhke  any  other 
on  the  market.  Realizing  that  here  was  a  subject  to  which  the 
average  person  paid  little  attention,  a  campaign  was  started 
which  stressed  the  design  in  question,  enlarging  it  and  mortising 
it  out  to  contain  space  for  text  and  other  illustrative  material. 

A  manufacturer  of  syrup  mortised  the  outline  of  its  can,  a 
container  of  unusual  style  and  form.  Elsewhere  he  reproduced 
it  in  detail  and  placed  all  of  his  messages  within  the  pictorial 
mortise.     The  objective  was  promptly  realized. 

One  of  our  most  famous  showmen  once  said  that  he  would 
rather  have  a  sign  suspended  from  the  back  of  an  elephant  than 
to  print  it  page  size  in  a  newspaper.  His  logic  was  simple. 
He  had  a  frame  which  was  animate  with  interest.  The  hunuin 
eye,  often  jaded,  requires  some  sort  of  stimulant.  Advertising 
stories  can  be  set  off  by  any  number  of  expeditious  ideas. 

Ten  years  ago,  a  maker  of  country  sausages,  starting  on  a 
small  scale  in  local  territory,  conceived  the  scheme  of  running 
two  column  newspaper  advertisements,  the  brief  copy  of  which 
was  type  set  inside  the  outline  of  a  young  pig.     And  it  was  his 


ILLUSTRATIVE  BORDERS  AND  MORTISES 


81 


Curtis  WoQDWOKK 


^/"(olv  much  do  }joujni\j  to  ijcl  clolhcs  cLm  •   jhr 


^«Z!ii'J^"i'  ^A^, 

'^t" 

-liC^'r^!'^^ 

"^1-1 : 

fc.**rt^ 

(.iLi  i*kK*f  h*  i«i  <i»^ 

X,    .Mt-    t, 

...UmI  OjA^ 

X  T  A  T^n 

n 

I  A 

NAPl 

rj- 

jA 

fenestra 

The  Original  Steel  WindoWall 


Fig.  50. 

Upper  Left. — The  manufacturer  specializes  in  fine  woodwork  for  homes  and 
this  artistic  border,  made  up  of  the  very  iiroduct  which  is  advertised,  therefore 
itself  takes  up  the  job  of  selling,  as  opposed  to  non-committal  decorative  schemes 
which,  while  pleasing  enough,  would  not  relate  to  the  subject  in  hand. 

Upper  Right. — Crude,  perhaps,  in  the  working  out,  but  effective  as  employed 
for  trade  magazine  advertising,  the  mortised  product  supplies  an  answer  to  the 
question:  "what  is  the  border  to  be"?  _ 

Lower  Left. — A  characteristic  feature  of  the  product's  wrapper  is  a  distmctivc 
name-plate  mortise  made  up  of  curved  lines.  By  employing  this  as  a  frame 
for  illustrations,  the  selling  theme  of  the  container  is  strongly  emi)hasized. 

Lower  Right. — Fenestra  comes  to  life,  as  a  product,  in  the  matter-of-fact 
detailed  border. 


82  ILLUSTRATION  IN  ADVERTISING 

argument  that  his  sausage  meat  was  made  from  tender,  young 
porkers. 

For  years  he  ran  only  the  pen  outHne  of  a  pig,  and  today  the 
firm  is  a  national  advertiser  with  national  distribution.  The 
border  might  have  been  line  rules  taken  from  the  job  lot  supply 
of  small- town  makeup  departments.  But  a  border  was  instru- 
mental in  success.     A  certain  needed  atmosphere  was  established. 

The  example  may  be  obvious,  humble  as  to  subject,  but  it  is 
none  the  less  significant.  Pictorial  borders,  where  they  are 
born  of  the  product,  may  easily  talk  an  illustrative  language  of 
their  own. 


CHAPTER   XI 
DISPLAY  COUNTER  IDEAS 

Some  advertising  campaigns  of  necessity  must  feature  not  one 
article  but  many  and  must  accomplish  it  artistically,  with  no 
sense  of  crowding,  of  scattered  composition,  nor  of  visual  con- 
fusion. Indeed,  this  school  of  layout  is  legitimately  popular 
and,  although  once  extended  as  a  sort  of  commercial  pacifier 
to  the  advertiser  himself,  is  now  so  skilfully  negotiated  that  an 
idealist  would  find  little  room  for  complaint. 

Many  lines  of  products  call  for  show  counter  display,  correct 
proportions  retained,  and  relative  features  brought  to  the  pub- 
lic's attention  in  group  style. 

The  former  method  was  unattractive  because  it  followed  the 
art  ideas  of  the  catalog  page.  Articles  were  scattered  over  a 
page  with  slight  attention  to  the  niceties  of  balance  and  of 
composition.  As  a  result,  such  advertisements  were  cold,  and 
uninspired  by  any  effort  to  introduce  novelty  of  basic  plan. 

Gradually  the  advertiser  came  to  appreciate  that  many  classes 
of  objects  could  be  placed  in  a  given  space  and  their  presence 
explained  by  the  idea  which  segregated  and  brought  them 
together.  A  manufacturer  of  medicine  requisities  had,  for 
years,  followed  the  catalog  scheme,  and  his  advertising  w'as 
unattractive  in  a  physical  sense.  A  quite  obvious  expedient 
at  once  corrected  this  weakness  of  illustrative  display.  A  group- 
ing of  eighteen  or  more  articles  on  the  white  enamel  shelves  of 
a  typical  bathroom  wall  cabinet  suggested  a  complete  assortment 
under  the  head  of  medicine  cabinet  requisites.  This  was  where 
they  were  to  be  found  and  this  was  where  the  average  person 
would  be  apt  to  see  them.  With  no  waste  of  valuable  space  and 
in  a  natural  frame  formed  by  the  outline  of  the  cabinet,  the  entire 
line,  labels  readable  and  facing  to  the  front,  were  segregated 
and  yet  held  together  by  the  reading  matter  where  once  their 
scattered  composition  confused  the  eye  and  made  study  arduous. 

Illustrations  of  this  school  can  be  prepared  either  by  assem- 
bling them  in  an  actual  cabinet,  photographing  the  aggregate 

83 


84  ILLVSTRAriON  IN  ADVERTISING 

display,  and  retouching  it  where  detail  is  faded  or  lost,  or  by 
making  separate  camera,  studies  of  each  product  and  mounting 
them  into  an  original  drawing  of  the  cabinet  frame.  The  former 
is  by  far  the  easiest  and  most  economical  method. 

In  similar  fashion,  an  advertiser  of  sundry  aluminum  cooking 
utensils  transformed  mere  catalog  page  showings  of  the  lines  into 
an  attractive,  even  artistic  illustration.  Twelve  featured  utensils 
were  posed  in  and  on  a  modern  kitchen  stove  at  points  where 
they  would  go  into  action. 

The  trick,  if  trick  it  be,  seems  to  be  in  finding  a  simple  accus- 
tomed display  rack  where  such  articles  are  located  under  natural 
working  conditions,  the  more  likely  and  unaffected  the  situation 
the  more  satisfactory  the  composition. 

The  question  naturally  arises  as  to  whether,  although  this 
idea  is  available  for  a  single  advertisement,  the  same  illustration 
could  be  run  continuously  throughout  an  entire  campaign. 

Consider,  again,  the  advertiser  of  medicines  in  package  and 
])ottle  form.  Working  on  the  foimdational  idea  of  the  group  in 
the  cabinet,  the  following  possible  arrangements  suggest  them- 
selves: 

The  line  displayed  on  a  drug  store  counter. 

Goods  on  shelves  in  drug  store. 

Table  in  a  hospital  receiving  room. 

On  a  laboratory  work  shelf. 

Placed,  as  if  for  study,  on  physician's  desk. 

Grouped  within  outlines  of  prescription  blank. 

It  is  always  permissi])le  to  present  different  perspective  views 
of  the  same  composition.  Thus,  the  cabinet  could  be  shown 
full  front  view,  from  various  not  too  acute  angles,  from  above 
and  ])elow,  and  under  widely  different  lighting  conditions.  The 
cabinet  on  the  wall  might  be  illumined  by  a  beam  of  light  from 
an  unseen  electric  source  and  this  shaft  of  radiance  would  pro- 
vide another  attention-compelling  feature. 

There  is  really  nothing  unusual  in  such  ideas  for  group  com- 
position, and  this,  in  a  sense,  increases  their  value.  That  they 
are  so  obvious  doubtless  accounts  for  their  infrequent  use.  The 
ideas  which  are  everj'where  visualized  around  us  are  often  the 
last  ones  to  be  set  down  on  paper.  There  is  a  strong  tendency 
to  search  for  the  exotic  or  the  super-sensational. 


DISPLAY  COUNTER  IDEAS 


85 


Fig.  51. 

Upper  Left. — A  somewhat  cluttered  composition,  displaying  the  advertiser's 
line,  but  there  is  a  certain  attention-compelling  value  to  the  poster  layout  and 
the  reproduction  of  cooked  foods  makes  it  intensely  practical.  One  of  the  devel- 
opments leading  to  the  new  style  of  composition.  A  much  better  page  designed 
for  the  same  company  visualized  the  line  in  a  pantry. 

Upper  Right. — The  shelves  in  a  housewife's  cupboard  made  to  represent  the 
very  natural  and  unaffected  setting  for  the  manufacturer's  line 

Lower  Left. — More  formal  and  catalog-like  composition,  with  no  attempt  at 
cleverness.     Well-mannered  and  attractive. 

Lower  Right. — A  very  extensive  line  shown  in  a  compact  and  business-like 
setting.  The  scene  is  in  a  retail  store,  and  the  goods  are  arranged  normally  on  a 
display  stand  supplied  the  dealer.  Such  photographs  may  be  taken  from  the 
actual  exhibit  and  with  posed  models. 


86  ILLUSTRATIOX  IX  ADVERTISING 

A  campaign  given  over  in  large  measure  to  the  showing  of  a 
comprehensive  Hne  of  canned  goods  was  characterized  l)y  lay- 
outs and  art  work  which  had  a  marked  tendency  to  cheapen 
the  traditions  of  the  concern.  Crude  borders  held  reproductions 
of  the  various  cans.  This  was  about  as  far  as  artists  had  ever 
gone  in  the  direction  of  embellishing  the  series,  and  it  was  deemed 
advisable  to  picture  not  one  or  two,  but  many,  of  the  leaders 
in  the  line. 

At  last  came  a  study  of  the  housewife's  pantry,  with  the  shelves 
attractively  covered  with  scalloped  paper.  She  had  neatly 
arranged  the  canned  goods  on  these  shelves,  and,  as  in  the  case  of 
the  medicine  cabinet,  an  almost  perfect  composition  was  achieved. 

Another  advertiser  of  a  grocery  line  simplified  his  problem  by 
creating  what  was  virtually  turned  into  a  secondary  trade  mark, 
which  could  be  introduced  in  every  display  in  a  variety  of  sizes. 
A  typical  home  market  basket  was  filled  with  the  products,  each 
label  turned  outAvard. 

It  is  the  scattering  of  a  number  of  articles  which  dissipates 
interest  and  inartistic  composition.  Segregate  them  and  bind 
them  together  pictorially,  and  the  display  profits  vastly. 

A  type  of  group  picture  wh'ch  serves  its  purpose  well,  while 
delighting  the  dealer,  is  reproduced  in  this  chapter.  The  line 
of  IVIirro  aluminum  ware  was  photographed  on  the  special  store 
stand  supplied  by  the  manufacturer  and  under  conditions  which 
bring  out  the  individual  pieces. 

The  presence  of  customer  and  shopkeeper  in  the  same  composi- 
tion supplies  a  touch  of  animation  which  is  too  often  missing  in 
such  illustrations.  The  camera  is  the  artist  and  specific  attention 
is  paid  to  lighting. 

Where  it  is  practically  impossible  to  arrive  at  pictorial  settings 
of  the  character  described  and  where  products  must  be  grouped 
rather  formally,  background  accessories  may  relieve  the  com- 
mercial aspects  of  the  composition.  The  advertising  displays  for 
Oneida  Comnmnity  silver  plate  demonstrate  a  very  high  stand- 
ard in  this  respect.  Backgrounds  are  formed  of  photographed 
linen  pieces,  exquisite  and  intricate  as  to  hand  work,  lace,  inlaid 
design,  and  of  pieces  of  silverware  superimposed  upon  these 
beautiful  surfaces,  relieved  by  shadows  and  highlight  reflections. 
It  should  be  mentioned  in  passing  that  some  of  these  extraordi- 
nary laces  were  photographed  from  rare  examples  at  a  New  York 
museum. 


DISPLAY  COUNTER  IDEAS 


87 


SCIUIBB   Wee1<j 


N.u.-.ul  Ofic,  Du.iT«  S<|lllll(>  WVvk  ()iil 


"^ar-Ever" 


^-^■^Aluminum  Cooking  Utensils 

iVv  ■*'iVC  Oil  Her  Kan^c  Oirisimas  Morning 


Fig.  52. 

Upper  Left. — Helter-skelter  composition,  making  a  pattern  background  of 
the  many  products  and  effective,  none  the  less. 

Upper  Right. — What  could  be  more  natural  and  decorative  and  unaffected 
than  this  line  of  medical  accessories  grouped  within  the  art-frame  of  a  typical 
bath-room  medicine  cabinet?  The  problem  of  picturing  many  different  articles 
in  a  compact  manner,  is  thus  shrewdly  achieved. 

Lower  Left. — An  ordinary  kitchen  range  supplies  the  art  setting  for  a  series 
of  kitchen  utensils.  The  old  idea  was  to  sprinkle  them  over  the  page,  catalog 
fashion. 

Lower  Right. — One  of  a  familiar  series  for  Community  Plates.  The  line  of 
products  is  superimposed  upon  exquisite  table  linen  and  therefore  makes  an 
appropriate  setting. 


88 


ILLUSTRATION  IX  ADVERTISING 


The  Oneida  campaign,  used  recurrently,  is  not  without  the 
bounds  of  the  general  plan  of  procedure  advocated  here,  because 
silverware  belongs  on  just  such  showings  of  fine  linen,  and  the 
rare  patterns  of  the  series  will  attract  women  who  must  recognize 
the  marvelous  workmanship. 

How  are  these  effects  obtained?  One  method  is  to  fasten  the 
fabric  to  a  board,  stretching  it  out  evenly.  If  such  fabrics,  as  in 
the  case  of  the  elaborate  lace  designs  are  of  open-work,  they  are 
mounted  on  black  cardboard  which  brings  out  their  every  detail. 


Greater 


i^ 


^ 

,^- 


No3 

Dodeie  Brothers 


Chevrolet 


Fig.  53. — A  simple  method  of  Krouping  three  members  of  a  family  of  products. 
Rut  the  illustration.s  are  from  skilfully  retouched  copy,  tricked  out  with  spark- 
ling highlifihts  and  contrasting  tones.  The  delicate  decorative  background  lends 
"class  atmosphere." 

The  silver  is  then  arranged  on  the  lace,  held  in  place  by  putty 
or  art  gum,  but  unseen  from  the  camera's  angle.  Special 
mortises,  name  plates,  and  captions  can  be  painted  in  on  the 
print.  Retouching  may  be  necessary^  particularly  in  the  matter  of 
shadows  and  highlights.  It  is  also  possible  to  make  separate  photo- 
graphs of  the  two  planes  of  interest  and  to  patch  them  together. 

Consider  the  problem  of  an  advertiser  of  decorative  linoleums, 
whose  products  depended  largely  on  their  attractive  patterns,  for 
reader  response  to  campaigns.  It  has  long  been  a  common  prac- 
tice simply  to  incorporate  swatches,  or  squares  of  patterns,  l)ut 
this  was  never  wholly  satisfactory  because  of  their  limited 
range  of  design,  and  to  place  them  artistically  in  a  composition 
is  a  nightmare  to  the  layout  artist. 

A  remarkable  photograph  taken  in  a  linoleum  department 
formed  the  basis  for  an  entire  series  of  far  more  satisfactory 
illustrations.     As  in  the  majority  of  the  instances  mentioned,  the 


DISPLAY  COUNTER  IDEAS 


89 


setting  was  a  thoroughly  natural  one  and  a  battery  of  complete 
rolls  of  the  product  was  featured,  to  say  nothing  of  the  linoleum 
rug  spread  on  the  floor  for  a  prospective  purchaser.  A  more 
complete  showing  of  patterns  was  not  the  least  of  the  advantages 
of  this  idea.  Reproduced  in  colors,  the  photographic  studies 
were  strikingly  successful. 

A  similar  case  has  to  do  with  a  campaign  for  fine  linens.     Job- 
lot  compositions,  with  individual  pieces  clumsily  arranged  on  a 


STANLEY 


Fig.  54. 

Left. — Rather  ruthless  in  the  manner  of  grouping,  but  strong,  compelling  and 
original.     The  basic  idea  has  been  used  for  a  year's  campaign. 

Right. — An  admirable  grouping  of  a  wide  line  of  hair-brushes,  made  into  a 
decorative  composition,  and  given  added  charm  through  the  medium  of  an 
original  pen  and  ink  rendering. 

gray  background,  gave  way  to  human  interest  pictures,  with  the 
product  introduced  as  a  living  part  of  the  scenarios.  The 
housewife  might  be  just  arranging  her  linen  supply  in  a  cabinet, 
with  every  drawer  open  and  shelves  exposed;  or,  she  might  be 
just  removing  them  from  the  large  basket  of  the  week's  laundry. 
The  best  show  counter  displays  are  those,  of  course,  which  permit 
of  touches  of  life  and  of  action  closely  associated  with  the  products 
advertised. 

Where,  as  in  the  case  of  a  manufacturer  of  many  brushes  used 
in  homes,  a  salesman's  sample  case  supplies  an  ideal  setting,  the 


90  ILLUSTRATION  IN  ADVERTISING 

campaign  may  adopt  this  one  idea  as  a  standard  pictorial  theme, 
perhaps  featuring  in  hirger  size  one  certain  brush  from  the  Hne. 

A  great  packing  house  has  used  a  toy  kitchen  with  its  sundiy 
articles  of  furniture  and  of  utensils  in  miniature.  The  toy  is 
lithographed  in  full  color,  and  the  tiny  packages  are  faithful 
reproductions  of  the  larger  container  of  the  hne.  This  cutout 
is  supplied  to  dealers,  given  to  those  who  write  in,  for  a  nominal 
sum,  and  reproduced  adequately  in  national  advertising. 

It  is  seldom  wise,  in  a  composite  drawing  of  many  objects, 
to  throw  one  or  more  out  of  size  key.  People  are  apt  to  get 
the  wrong  impression  from  such  illustrations.  It  is  well  enough 
to  enlarge  one  or  two  leaders  so  noticeably  that  the  disparity  is 
understood. 

The  modern  catalogue  displays  a  tendency  to  emploj^  these 
animated  group  studies,  where  from  six  to  a  dozen  articles  are 
included  on  a  single  page ;  and  some  ingenious  layouts  have  been 
evolved. 

A  book  containing  the  complete  line  of  a  china  house  formed  the 
cutout  cover  of  a  period  china  closet,  while  the  inside  pages  were 
photographic  reproductions  of  a  dozen  and  a  half  equally  effec- 
tive closets,  the  china  artistically  arranged  and  visible  through 
the  glass  doors. 

A  somewhat  similar  idea  made  use  of  backgrounds  of  jewel 
caskets,  in  which  the  manufacturer  displayed  to  admirable 
advantage,  the  200  products  put  out  by  his  companJ^ 

Display  counter  layouts  have  come  into  their  own  of  recent 
years.  They  were  doubtless  first  inspired  not  only  by  a  desire 
to  get  away  from  the  conventional  page  makeup  of  a  past  regime 
but  also  by  the  novel  display  racks  and  devices  supplied  dealere, 
where  there  is  a  line  to  place  on  exhibition.  The  National  Biscuit 
Company,  featuring  a  dozen  or  more  kinds  of  products  in  as 
many  attractive  containers,  invented  a  practical  store  self-seller, 
which,  when  reproduced  in  its  natural  colors,  became  a  magazine 
illustration  of  far-reaching  sales  value. 


CHAPTER  XII 
IMPORTANCE  OF  WHITE  AREAS 

One  of  the  most  dangerous  practices  connected  with  modern 
advertising  composition,  layout,  and  art  embellishment  is  to 
measure  the  value  of  space  by  how  much  can  be  crowded  into 
it.  That  the  uninitiated  and  sometimes  those  who  should  know 
better  periodically  misjudge  in  such  matters  may  be  credited  to  a 
quite  natural  consideration  of  the  economics  of  space  buying. 

An  advertiser,  using  a  number  of  newspapers  the  country  over, 
decreases  the  space  used  in  each  advertisement  of  a  series,  a  line 
or  two,  and  the  saving  aggregates  thousands  of  dollars.  It  is  an 
actual  fact  that  by  cutting  his  copy  and  eliminating  eighteen 
words,  one  national  advertiser  kept  $43,000  in  the  till.  Every 
fraction  of  an  inch  of  space,  in  any  medium,  costs  money,  and 
when  a  sizable  list  of  publications  is  on  the  list,  these  fractions 
loom   large  in  the  reckonings  of  the  man  who  foots  the  bill. 

It  is,  therefore,  excusable  to  cut  sharp  corners  and  to  make  the 
selection  of  sizes  a  matter  of  scientific  and  even  psychological 
analysis.  It  has  happened  in  any  number  of  instances  that  a 
single-column  campaign  has  achieved  practically  the  identical 
results  as  the  schedule  which  called  for  twice  the  amount  of 
linage.  That  advertisers  should  zealously  watch  this  problem 
is  at  once  logical  and  wise  practice. 

There  is  a  point,  however,  beyond  which  it  is  dangerous  to  go 
in  building  the  advertisement,  with  such  economies  in  view. 
To  pack  the  space  to  the  brim  with  text  and  illustration  is  to 
proportionately  decrease  its  interest,  its  power  to  command 
visual  attention,  and  its  artistic  atmosphere.  An  advertisement 
must  attract  the  eye  and  must  combat  competition  in  display. 
However  worthy  its  contents  and  however  perfect  its  illustration 
and  typography,  little  avails  if,  physically,  it  fails  to  make  a  suit- 
able appearance.  To  make  an  advertisement  stand  out,  in  mixed 
company  is  as  great  a  present-day  obligation  as  its  message. 

On  a  magazine  page  made  up  of  four  units,  or  more,  or  on  the 
newspaper  page,  where  competition  in  display  is  aggressive,  the 

91 


92 


ILLUSTRATION  IN  ADVERTISING 


builder  of  the  adveitiseiueiit  is  virtually  compelled  to  take  neigh- 
bors into  consideration. 

And  of  all  the  known  methods  of  securing  adequate  display 
value,  liberal  allotments  of  white  space  is  conceded  to  be  the 
most  effective  and  the  most  unfailingly  certain.  White  space, 
wisely  distributed,  is,  in  a  sense,  a  protection  for  the  type  and 
picture.  Such  margins  of  white  fight  off  surrounding  competition. 
They  provide  essential  contrast. 

On  a  newspaper  page,  in  testing  this  out,  create  two  two- 
column  advertisements.  In  one,  permit  the  material  to  run  to 
the  outer  margins  and  fill  all  available  space;  in  the  other,  con- 
dense picture  and  text  and  introduce  a  border  of  white  around 


Fig.  55. — White  was  actually  made  an  artistic  asset  in  this  remarkable  series 
in  which  it  played  such  an  important  part.  By  eliminating  detail  and  allowing 
an  unusual  volume  of  "white  space,"  the  cars  were  gracefully  emphasized. 


the  message.  Note  with  what  absolute  certainty  the  second  dis- 
play attracts,  then  holds,  the  eye. 

It  it  not  theory,  it  is  science.  For  exactly  the  same  reason  it  is 
easier  to  read  typography  which  is  openly  spaced  and  indented. 
The  advertisement  which  has  open  areas,  or  l)reathing  spaces,  of 
white  paper  is  more  inviting  to  the  eye  and  commands  visual 
concentration. 

White  space  is  an  automatic  creator  of  contrast,  and  contrast 
is  almost  invaria])ly  the  secret  of  compelling  display.  On  a 
newspaper  page,  there  is  apt  to  be  extremes  of  condensation, 
compact  masses  of  color,  "tight"  areas  of  type.  When,  in  the 
midst  of  this  congestion,  there  is  placed  a  simpler  composition, 
surrounded  by  empty  space,  the  oasis  formed  is  inviting  to  the  eye. 


IMPORTANCE  OF  WHITE  AREAS  93 

Paste  a  piece  of  white  paper  of  even  the  most  modest  width  on 
a  printed  page,  and  it  will  catch  one's  gaze  instantly,  although 
there  may  be  accompanying  elements  of  interest,  such  as  headlines, 
half-tones,  and  heavy  black  illustrations. 


Confidence 


|o^i/mrgn*  |cli/rvyorv 


roi'liDIWGGIST  IS  MORS  THAN  A  MEIICHANT'  Inlmmiij,inscmcc,minowMceycin-<higfisnsmoreiJianam^ 
SViarmac  v  is  a  liro/essio/l:  tlitPrugaist  cannot  affitrd  lo  Hfllynu  amlhhalrss  than  mlick^  ifmahly 

Tiy  theDriigStorcjirst 


Fig.  56. — One  dominant  word  "set  off"  by  a  liberal  expenditure  of  plain 
white  paper.  Surely,  by  way  of  contrast,  such  compositions  will  attract  added 
attention. 

There  was  a  time  when  advertisers  believed  that  power  of 
display,  in  commercial  designing  was  dependent  upon  how  much 


94 


ILLUSTRATION  IN  ADVERTISING 


[Lislerine  used  as  a  mouth  wash  quickly  overcomes  Halitosis  (unpleasant  breoth)\ 


Fig.  57. — White  space  becomes  a  quite  material  part  of  the  plan  of  this  cam- 
paign. With  so  much  "cluttered"  advertising,  the  simplicity  of  the  composition 
is  refreshing  to  the  eye. 


IMPORTANCE  OF  WHITE  AREAS 


95 


black  was  employed;  the  more  masses  of  black  in  a  picture,  the 
stronger  it  was  sure  to  be.  The  fallacy  is  quickly  uncovered 
when  several  densely  set  illustrations  on  the  same  page  compete 
for  attention.  One  black  area  nullifies  the  other.  It  is  equally 
true,  however,  that  if  many  advertisers  adhered  to  the  principles 
of  white  space  as  an  attention  compeller,  the  novelty  would  not 
be  so  pronounced.  They  do  not,  and  it  is  doubtful  if  they  ever 
will.     In  any  event,  the  display  protected  and  held  aloof  by  white 


I  k 


^ 


A) 


Fig.  58. — No  backgi-ound,  no  unnecessary  and  complicating  accessories.     And 
white  paper  is  made  to  pay  its  way. 

margins  is  certain  to  be  more  dominant,  regardless  of  competition 
in  its  own  sphere. 

White  space  must  be  looked  upon  as  a  practical  business  asset. 
White  space  must  be  considered  as  essential  as  the  illustration 
itself  or  the  type  display.  When  one  paper  manufacturer  issued 
a  series  of  messages,  his  slogan  was :  "  Paper  is  part  of  the  picture." 
It  might  well  have  been  paraphrased  to  suggest  that  liberal 
margins  of  white  are  also  a  part  of  the  picture.  That  nothing  is 
actually  printed  on  these  white  areas  does  not  mean  that  it 
represents  waste.  The  advertiser  is  paying  for  a  frame  for  his 
advertisement;  he  is  buying  a  target,  to  the  bull's-eye  of  which 
vision  speeds  with  uncanny  accuracy.     White  paper  is  restful 


96 


ILLUSTRATION  IN  ADVERTISING 


to  vision.  The  eye  has  no  work  to  do  here,  and  in  an  area 
of  much  advertising  and  of  continuous  battle  for  domiaating 
overwhelming  display,  these  rest  zones  lure  the  average  person's 
gaze. 


FATIMA 


Fig.  59. — Throughout  this  campaign,  strategic  use  of  "plenty  of  wliitc  space" 
made  the  displays  "stand  out"  in  newspapers,  regardless  of  illustrative  com- 
petition on  every  hand. 

Advertisers  are  led  into  error  by  the  common  custom  of  judg- 
ing an  advertisement,  in  a  physical  sense,  by  its  appearance  in 
sketch  form  or  as  a  proof,  detached  from  the  environment  where 


Fig.  60. — Greatly  reduced  showing  of  a  large-space  newspaper  advcrtisomont 
in  which  the  judicious  employment  of  areas  of  white  space  made  it  powerfully 
dominant. 


it  must  at  last  seek  its  audience  and  compete  with  many  other 
advertisements. 

A  layout  which  provides  for  text  and  illustration  monopolizing 
all  of  the  space  may  present  an  entirely  conunendable  and  satis- 


IMPORTANCE  OF  WHITE  AREAS  97 

factory  appearance.  There  is  no  competition  It  has  no  battle 
to  fight.  There  is  no  confusion  of  attention.  One  advertise- 
ment is  seen  and  one  only. 

Place  a  presumably  admirable  piece  of  copy  in  mixed  company 
and  there  is  disillusionment.  Elements  which  appeared  to 
provide  power  are,  in  reality,  weakening  influences.  The  adver- 
tising display  relieved  and  safeguarded  by  safety  zone  of  white, 
most  surely  proves  itself  when  it  is  in  the  midst  of  competition. 
Nothing  can  seriously  detract  from  it  because  it  has  erected  a 
barrier  across  which  no  confusion  may  leap.  It  is  segregated  by 
its  frame  of  paper.  It  bids  competitive  display  stand  at  a 
distance. 

Considered  in  the  light  of  attention-compelHng  value,  and  as  a 
means  of  making  an  advertisement  stand  out  where  display 
competition  is  unusually  keen,  the  following  fundamentals  in 
the  use  of  white  space  may  be  looked  upon  as  academic.  White 
space: 

1.  Isolates  type  and  illustration  from  surrounding  matter. 

2.  Furnishes  the  advertisement  an  immaculate,  well-groomed 
appearance. 

3.  Compels  attention;  scientifically,  it  attracts  the  eye. 

4.  Provides  individuahty  of  layout  over  the   conventional 
average  advertisement. 

5.  Tends  to  make  type  more  inviting  and  legible. 

6.  Helps  to  emphasize  the  illustrations. 

7.  Provides  essential  contrast. 

8.  May  erect  natural  hurdle,  over  which  the  other  fellow  is 
unable  to  climb. 

9.  Gives  tone,  character,  and  aristocracy  to  composition. 

10.  Makes  everything  centered  in  it  more  dominant  and 
compelling. 

11.  Provides  the  most  sensible  of  all  settings  for  the  message. 
In  its  more  important  phases,  therefore,  aside  from  the  artistic 

consideration,  the  use  of  open  margins  is,  first,  a  means  of  attract- 
ing added  attention  to  the  advertisement.  No  display  which 
employs  it  liberally  and  wisely  need  fear  being  overlooked. 
There  are,  of  course,  other  points  of  commendation,  and  these 
are  largely  concerned  with  the  illustrative  feature. 

The  greatest  harm  which  can  befall  a  picture  is  a  confusion 
and  congestion  of  unnecessary  detail.  Although  the  advertiser 
may  not  care  to  use  wide  margins  around  or  up  one  side  of  an 


98 


ILLUSTRATION  IN  ADVERTISING 


ELSIE  DE  WOLFE 

■T 

lg^*^^^^l 

^^^^^^^^^gs 

Interior  Decorations 

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Antique  Furniture 

Objets  d'Art 

HI  V 

677  FIFTH  AVENUE 

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NEW  YORK  CITY 



FiQ.  61. — Examples  of  the  expeditious  use  of  white  space. 


IMPORTANCE  OF  WHITE  AREAS  99 

advertisement,  the  illustrative  feature  will  profit  by  white  space. 
In  many  instances,  the  picture  without  a  background  is  vastly 
preferable  to  the  one  in  which  every  inch  of  space  is  cluttered. 

Art  work  of  all  kinds  is  susceptible  to  the  beneficial  influence 
of  such  vivid  contrast  as  white  paper  provides.  The  newspaper 
illustration  is  at  its  best  when  the  artist  eliminates  non-essentials 
of  detail. 

When  it  chances  that  one  object,  or  figure,  in  a  composite 
picture  must  be  emphasized  and  limelighted,  the  areas  of  white 
come  bravely  to  the  rescue. 

An  experiment  of  this  kind  has  been  tried  by  an  advertiser 
of  automobiles.  Because  pages  in  magazines  were  the  rule,  in 
at  least  one  phase  of  the  work,  the  element  of  competitive  dis- 
play was  not  a  factor.  The  advertiser  "owned"  the  page  in 
advance.  Attention  was  not  divided.  Competition  was  a 
negligible  quantity.  But  this  advertiser  was  desirous  of  making 
the  car  the  dominant  note  in  all  illustrations. 

These  canvases  portrayed  cars  and  occupants,  with  a  guarded 
amount  of  background.  It  was  no  mere  case  of  silhouetting  an 
automobile  in  an  area  of  white  paper.  There  were  trees  and 
hints  of  distant  hills,  houses,  and  landscape.  In  every  composi- 
tion at  least  50  per  cent  of  the  total  space  was  given  over  to 
paper  stock.  There  were  no  over-all  tints  and  no  wide  areas  of 
shading.  As  a  consequence,  attention  was  fastened  upon  the 
car  which  was,  in  every  case,  the  center  of  the  pictorial  target. 

When  the  campaign  calls  for  single  columns,  half  pages,  or 
quarter  pages  for  magazine  use,  here  again  margins  perform  an 
unfailing  service  in  the  matter  of  providing  that  contrast  which 
holds  competition  at  a  safe  distance.  And,  after  all,  this  is  one 
of  the  secrets  of  the  attention-compelling  display;  it  does  not 
mix  with  other  advertising.     The  segregation  is  priceless. 

Several  newspaper  pages,  representative  of  their  class,  are 
reproduced  in  this  chapter,  in  greatly  reduced  form.  They  form 
strikingly  uncontrovertible  evidence  of  the  practical  asset  of 
white  space.  They  prove  that  the  eye  will  seek  the  open  areas 
and  the  advertisements  which  are  noted  for  their  breathing  space. 
In  natural  size,  the  same  truth  is  intensified. 

No  advertiser  need  fear  that  his  display  will  be  lost  or  smoth- 
ered by  other  advertising  and  other  distractions,  if  he  will  study 
the  possibilities  of  marginal  doctrine.  And  this  is  just  as  true 
of  the  very  small  advertisement  as  it  is  of  the  larger  campaigns. 


100  ILLUSTRATION  IN  ADVERTISING 

A  famous  national  advertiser  pays  a  visualizer  for  his  knowledge 
of  what  to  leave  out. 

Why  is  it  that  certain  editorial  forms  of  makeup  in  straight 
typography  win  the  tribute  of  concentrated  attention  from  the 
reader?  The  eye  pounces  on  them  with  a  sense  of  obvious 
relief.  There  is  a  desire  to  read,  even  before  the  character  of 
the  message  is  sensed.  Spacing,  marginal  work,  and  areas  of 
white  are  a  relief  from  the  everlasting  condensation  of  the  general 
run  of  type  setup. 

Nothing  is  gained  by  cutting  down  the  amount  of  copy,  and 
then  spreading  it  out  to  fill  a  given  space.  Nothing  is  gained 
by  showing  illustrations  in  bold  closeups  and  then  permitting 
them  to  run  from  side  to  side  and  top  to  bottom  of  the  layout. 

The  volume  of  white  space  around  and  about  them  is  the 
deciding  factor  in  their  power  to  arrest  attention  under  any  and 
all  circumstances.  Advertisers  will  do  well  to  look  upon  white 
paper  as  one  of  the  most  valuable  and  constructive  forces  in 
modern  display. 


CHAPTER  XIII 
STRATEGIC    USE   OF  BLACK   AREAS 

One  of  the  most  common  errors  in  any  consideration  of  the 
carrying  power  and  attention-compelling  value  of  a  commercial 
illustration  is  to  assume  that  unusually  liberal  areas  of  solid  black, 
either  in  a  line  drawing  or  in  a  wash  original  means  invinci]>ility 
of  display.  This  belief  is  particularly  prevalent  among  those 
who  prepare  advertising  for  newspapers,  trade  journals,  and  farm 
magazines.  Heavy  masses  of  black  are  injected  with  little  or 
no  consideration  as  to  the  fitness  of  things.  It  is  used  because  it 
would  appear  to  dominate  over  surrounding  displays.  In  a 
sometimes  selfish  desire  to  "kill  off"  the  competitors'  advertising, 
these  campaigns  smash  their  way,  rough  shod,  through  the  press. 

This  situation  reached  a  state  where  many  of  the  more  exacting 
newspapers  set  up  office  rules  which  promptly  prohibited  solid 
blacks,  save  when  there  was  a  legitimate  reason  for  them.  If 
the  thing  portrayed  is  black,  then  the  advertiser  may  employ  it; 
but  if  masses  of  black  are  introduced  for  no  better  reason  than  to 
dominate  ruthlessly,  such  areas  are  officially  edited  in  the  news- 
paper office  by  a  department  specializing  in  it,  or  the  advertiser 
may  after  a  warning,  handle  the  problem  himself. 

From  the  newspaper  publisher's  point  of  view,  the  objection  to 
overly  dominant  blacks  is  fundamentally  sound.  Spotted, 
broken  pages,  considered  in  the  aggregate,  are  displeasing  to  the 
reader.  They  disturb  any  restful  contemplation  either  of  news  or 
of  advertising.  They  are  brutally  distracting.  Nor  does  this 
mean  that  the  eye  is  pleasingly  lured  to  them.  They  are  not, 
of  necessity,  attractive.  The  modern  well-conducted  newspaper 
strives  for  pages  which,  while  strewn  with  advertising,  are  never- 
theless a  composite,  closely  knit  mass,  with  no  one  thing  standing 
out  to  a  considerable  degree. 

Ethically,  the  newspaper  does  not  look  with  favor  upon  any 
advertisement  which  palpably  elbows  other  advertising  off  the 
page  and  out  of  the  vision.  Campaigns  should  share  and  share 
alike.     If  they  dominate  at  all,  they  must  do  it  by  virtue  of 

101 


102 


ILLUSTRATION  IN  ADVERTISING 


Fia.  62. — Black,  boldly  dominant,  made  to  serve  a  useful  purpose  in  emphasiz- 
ing a  white  product. 


FiQ.    03. — Another   example    of    the 
strategic  use  of  black. 


l''io.  01. 


-The  backgruuiid   i)n)\i(lcs 
strength. 


STRATEGIC  USE  OF  BLACK  AREAS 


103 


skill  in  composition,  artistic  or  illustrative  quality,  or  power  of 
text  and  headlines. 

A  picture  of  a  black  automobile  can  be  shown  exactly  as  it  is; 
a  picture  of  a  building  may  not  have  heavy  black  shadows.  The 
distinction  is  obvious.  Masses  of  black  are  in  good  taste  when 
they  are  an  inherent  part  of  the  character  and  appearance  of 
the  product  itself.  Even  black  lettering  is  stippled  and  made 
lighter  in  tone. 

The  process  of  bringing  illustrations,  violating  newspaper  rules, 
to  an  acceptable  appearance  is  mechanical.     There  are  numerous 


Fig.  65.^ — Three  skilful  adaptions  of  black,  featured,  as  a  campaign  trade-mark 
touch  of  individuality.  It  is  unfair  to  judge  them  from  these  greatly  reduced 
engravings.     The  series  was  considered  revolutionary. 

engraving  methods  of  arriving  at  it  and  in  the  majority  of  cases, 
the  actual  plates  are  "treated."  Advertisers  who  are  insistent 
upon  black  illustrations  for  newspaper  use  might  study  their 
schedules  in  advance  and  make  copy  conform  with  the  rulings 
accepted  by  other  successful  advertisers. 

There  are  no  such  restrictions  in  the  matter  of  standard 
magazine  advertising.  The  amount  of  black  used  is  entirely 
discretionary  with  the  advertiser.  Satisfactory  printed  results 
are  certain,  which  is  not  always  the  case  with  reproductions  on 
cheap  paper  stock.  The  use  of  large  areas  of  black  becomes  an 
artistic  study.  It  is  done  with  wisdom  and  with  restraint. 
Black  may  become  something  akin  to  a  mark  of  advertising 
identification  for  a  campaign. 

An  instance  of  this  can  be  cited :  The  firm  of  Black,  Starr  and 
Frost,  jewelers,  after  a  careful  investigation  of  the  advertising 


104  ILLUSTRATION  IN  ADVERTISING 

in  such  journals  as  the  firm  was  compelled  to  use  in  making  up  a 
scientific  schedule,  found  that  while  there  were  numerous  cam- 
paigns of  photographs,  of  original  wash  drawings,  reproduced  in 
haK-tone,  and  of  pen-and-ink,  dry-brush,  and  other  art  mediums, 
there  were  practically  no  campaigns  using  heavy  black  to  such  a 
liberal  extent  that  the  public  might  grasp  it  as  individuality  in  a 
series. 

Pages  were  originated  with  black  as  the  one  dominant  note. 
The  area  of  black  constituted  no  less  than  80  per  cent  of  the 
display.  Black,  with  poster  combinations,  was  actually  trans- 
formed into  an  advertising  asset.  A  string  of  precious  pearls 
was  superimposed  against  a  simple  square  block  of  ebony,  with 
no  accessories.  Two  pieces  of  silver,  in  half-tone,  were  likewise 
featured  on  a  single  page.  A  startling  composition  was  that  of 
one  blue  diamond  lying  on  a  block  of  black. 

This  was  not  done,  however,  to  dominate,  to  detract  from  other 
advertising.  It  was  the  soul  of  the  campaign.  It  was  the 
note  which  individualized  it.  Diamonds,  silverware,  pearls, 
whatever  the  product,  stood  out  as  never  before  in  any  previous 
series.  The  areas  of  black  were  valid  because  they  constituted  a 
display  counter  for  the  products  advertised.  The  effect  was 
much  as  if  any  one  of  these  articles  had  been  placed  upon  a  large 
piece  of  costly  black  velvet. 

The  series  was  not  permitted  to  grow  monotonous.  If  several 
articles  must  be  shown  in  a  single  page,  then  they  were  artisti- 
cally arranged,  as  if  they  were  lying  upon  an  ebony  tray,  but  the 
characteristic  effect  was  not  weakened.  The  most  unimaginative 
person  could  quickly  distinguish  that  this  was  one  of  a  scries  of 
advertisements.  Here  was  an  instance,  then,  of  black  used 
advisedly  to  individualize  a  campaign  and  to  provide  contrast 
for  the  products. 

A  manufacturer  of  combs,  alert  to  the  knowledge  that  his 
product  was  not  one  unusual  from  a  pictorial  standpoint,  sought 
a  means  of  making  it  so.  The  combs  were  black.  In  the  illus- 
trations employed  by  the  company,  white,  grey,  and  solid  black 
were  used.  Flat  masses  of  gray  background,  relieved  by  simple 
delicate  motifs  of  white,  held  representatives  of  the  combs  and 
these  were  practically  in  black  silhouette,  with  detail  all  but 
eliminated. 

The  product  itself,  normally  black  and  intensified  in  the  art 
treatment,  was  given  bull's-eye  position  through  the  wise  use   of 


STRATEGIC  USE  OF  BLACK  AREAS 


105 


-And  3-m-One 


3-in-One 


black  and  was  provided  with  contrast  by  the  gray  tone  and  the 
intermittent  whites. 

In  magazine  work,  illustrations  in  line  and  in  graduating  shades 
of  half-tone  are  often  made  decorative,  compelling,  and  poster- 
like through  the  use  of  solid  black  backgrounds.  In  the  illustrat- 
ing of  a  campaign  for  refrigerators,  an  advertiser  employed  these 
black  backgrounds  because  the  ice  box  was  of  white  enamel,  and 
the  black,  aside  from  its  other  virtues  in  the  series,  intensified  the 
spotless  finish  of  the  product. 

Black  is  valuable  in  an  illustration,  only  when  it  is  a  means  to 
an  end.  Too  much  black  defeats  its  own  purpose.  An  illustra- 
tion overburdened  with  large  areas  of  black 
is  a  vexation  to  the  eye  and  tiresome  to 
vision.  It  becomes  somber,  depressing,  and 
heavy.  For  black,  after  all,  is  not  cheerful; 
contrast  gives  it  its  true  value. 

An  outKne  drawing  in  pen  and  ink  can  be 
made  and  a  single  cautious  area  of  solid  black 
introduced  where  it  has  a  right  to  be ;  it  will 
seem  strangely  interpretative.  Use  several 
similar  areas  and  the  value  of  any  one 
decreases  in  rapid  proportion. 

Too  much  cannot  be  said  on  the  subject  of 
the  relation  of  black  with  contrasts.  Black 
may  easily  nullify  the  power  of  black,  if  there 
is  too  much  of  it  and  there  are  too  many 
points  of  distribution. 

The  silhouette  has  attained  its  popularity 
solely  on  the  basis  of  contrast,  plus  individ- 
uality of  technique,  but  the  more  success- 
ful silhouettes  are  those  which  distribute 
values  with  scientific  discrimination.  Place 
a  single  figure,  for  example,  in  black 
against  a  white  background,  and  it  is  startling  and  compelling. 
Muddle  it  up  with  background  blacks,  in  addition  to  the  main 
figures  being  in  black,  and  the  results  are  not  satisfactory. 
The  silhouette  in  black  has  a  fascination,  particularly  when 
figures  are  thus  represented. 

Imagination  fills  in  the  missing  detail.  Show  only  the  profile 
■of  a  face  in  black  silhouette  and  the  observer's  own  mind  begins 
instantly  to  imagine  the  details.     Such  silhouettes,  however, 


Fig.  66.  — In  its 
half  page  size,  the 
bhicks  in  this  design 
served  an  interesting 
purpose,  for,  despite 
the  strength  of  these 
areas,  they  only 
served  to  elaborate 
the  detailed  package. 


106 


ILLUSTRATION  IN  ADVERTISING 


retain  strong  points  of  individuality.  It  is  possible,  as  a  conse- 
quence, to  retain  an  almost  photographic  likeness  of  the 
individual.     This  fact  is  familiar  to  all. 

The  use  of  solid  black  in  any  illustration,  regardless  of  its  sub- 
ject or  its  art  medium,  is  strong  or  weak,  in  proportion  to  the 
discretion  used  in  surrounding  material.  The  placing  of  con- 
trasting notes  in  correct  juxtaposition  is  one  of  the  secrets  of 
this.  If  there  is  a  considerable  area  of  black,  it  should  be 
quickly  relieved  by  a  corresponding  area  of  white  or  of  some  light 
tone  value. 


'/  itmtijtt  ^rtS  Urn  bt  aiuimd  b}  lit  (naljn  jnnliT. 

iwanrr  jm  hifrnj;  umi.  It^uiti  *rr  rtal  ttftSi  »f  ^tl,  vhUb 

Cijmng  Ji.-trjin  •  rfKh  »  />/«//■  ^f»fJ  itt  ^ul  plwnfi  ilmi  «  ii^nl 

mm,  iummdi.  tmppbnti  ««</  mtt^Ui  by  tbt  ftrfte  maiit  «/  «Tt  and  ^ttlily. 


Fig.  67.- — Large  areas  of  solid  black  made  to  serve  a  serialized  purpose  through- 
out a  progressive  campaign.  Line  or  wash  objects  superimposed  against  such 
areas,  boldly  and  without  fear.  Yet  there  is  nothing  "funereal"  about  the 
illustrations  as  seen  in  their  page  size. 

Too  nmch  black,  in  large  areas,  will  cheapen  an  illustration  if 
precautions  are  not  taken.  This  applies  more  specifically  to 
campaigns  in  magazines,  where  an  aristocracy  of  atmosphere  is 
desired. 

That  it  can  be  made  to  work  sympathetically  with  class  com- 
positions, however,  is  evidenced  by  the  wholly  artistic  results 
attained  by  the  Black,  Starr  and  Frost  campaign.  Several  of 
these  fine  advertisements  are  reproduced  here  and  justify  study. 
It  would  appear  impossible  to  splash  a  magazine  page  with  a  solid 
black  and  at  the  same  time  preserve  dignity,  artistic  merit,  and 


STRATEGIC  USE  OF  BLACK  AREAS 


107 


an  atmosphere  which  must  be  associated  with  products  of  this 
character. 

Specific  attention  is  called  to  the  display  in  which  a  pearl 
necklace  is  superimposed  against  a  black  panel. 

The  decorative  elements,  together  with  perfect  composition 
in  this  case,  hold  the  page  aloof  from  such  cheapening  influences 
of  solid  black  as  have  been  mentioned.     By  placing  the  string 


Columbia 

Dry  Batterie^/ 


Fig.  G8. — Various  uses  of  generous  amounts  of  black  in  order  to  give  striking 
contrast  where  it  is  most  essential. 


directly  in  the  center  of  the  black  area  and  by  looping  the  pearls 
with  rigorous,  mathematical  precision,  the  eye  does  not  rebel  at 
the  volume  of  this  black.  The  background  becomes  part  of  a 
design.  And  the  tiny  decorative  motif  at  the  bottom  supphes  an 
essential  relief.  With  equal  skill  and  understanding,  the  name 
plate  display  and  two  blocks  of  typography  seem  to  fall  into  per- 
fectly alloted  spaces.  They  also  serve  to  take  some  of  the  harsh- 
ness from  the  simplicity  of  the  background. 


108  ILLUSTRATION  IN  ADVERTISING 

It  is  interesting  to  find  that  combinations  of  these  same  ele- 
ments, in  the  main,  are  apparently  without  end.  This  campaign, 
long  continued,  did  not  find  it  necessary  to  repeat  a  composi- 
tion. The  same  typographical  makeup  was  not  employed  twice, 
and  always  those  substantial  squares  of  solid  black  provided 
illustrative  and  decorative  character  which  individualized  the 
series. 

The  use  of  areas  of  black  is  a  responsibility.  In  the  hands  of 
the  novice,  it  may  do  irreparable  damage  to  any  campaign.  It 
may  dominate  to  such  an  extent  that  the  message  in  tj'pe  becomes 
weak  and  inconsequential,  or  it  may  defeat  the  true  purpose  of 
the  illustration  as  a  whole. 

An  artist  who  has  specialized  in  this  field  has  his  own  effective 
method  of  knowing  how  much  black  to  use  and  where  to  place  it. 
He  makes  his  layouts  in  outline,  has  photographic  prmts  made 
the  same  size,  and  experiments  with  them  until  the  best  possible 
combination  is  secured. 


CHAPTER   XIV 
THE  ANGLE  OF  PERSPECTIVE 

The  abundant  possibilities  of  perspective  are  by  no  means  as 
fully  understood  or  applied  as  they  deserve  to  be.  Perspective 
brings  fresh  viewpoints  to  compositions.  It  is  such  a  plastic 
science  and  so  adaptable  that  the  most  prosaic  subject  can  be 
given  new  interpretation  by  even  casual  application  of  its  rules. 

In  a  rudimentary  way,  many  persons  appreciate  that  perspec- 
tive includes  elements  of  vision.  To  stand  on  the  observation 
car  platform  of  a  moving  train  and  to  see  the  tracks  converg- 
ing on  the  far  horizon  is  a  simple  visualization  of  perspective. 
The  amateur  who  places  his  camera  too  near  the  base  of  a  tall 
building  and  tilts  the  camera  upward,  to  include  the  entire 
structure,  discovers  to  his  dismay  that  perspective  has  its  pitfalls. 
Every  snap  shot  enthusiast  is  familiar  with  the  grotesqueries  of 
unstudied  perspective  in  the  abnormal  and  distorted  results 
which  follow.  The  dictionary  defines  perspective  as  the  "art  or 
the  science  of  representing,  on  a  plane  or  on  a  curved  surface, 
natural  objects  as  they  actually  appear  to  the  eye." 

There  are  several  technical  branches  of  perspective,  all  of 
which  are  essential  to  a  complete  mastery  of  art,  but  the  present 
treatise  does  not  call  for  detailed  analysis.  What  concerns 
the  student  is  the  application  of  the  simpler  forms  to  advertising 
art.  It  is  a  study  in  itself,  heavily  charged  with  diagrammatic 
analysis,  although  many  artists  seem  to  be  born  with  a  con- 
sciousness of  its  most  subtle  ramifications.  Results  are  achieved 
without  recourse  to  "vanishing  points"  and  ruled  lines.  It  will 
be  well,  nevertheless,  to  understand  that  the  "station  point" 
represents  the  individual's  place  and  position,  as  he  focuses  his 
eyes. 

Because  there  is  such  a  thing  as  a  universal  station  point, 
the  tendency  is  in  the  direction  of  sameness.  As  things  are  seen 
in  everyday  hfe,  under  perfectly  normal  conditions,  so  are  they 
put  on  the  advertising  canvas.  This  is  the  eye  range  and  the 
station  of   the   greatest  number  of   individuals.     Advertising, 

109 


110 


ILLUSTRATION  IN  ADVERTISING 


for  Indiana 


<■, 


Fia.  09. —  (Seo  opposite  page  for  explanation). 


TUB  ANGLE  OF  PERSPECTIVE  HI 


Explanation  of  Illustrations  (Fig.  69) 

lu  the  "E  for  Indiana"  illustration,  perspective  permits  a  broad  \'ista  of 
streets,  many  little  figures  and  a  "look-down"  thoroughness  of  detail  which 
would  be  impossible  were  the  usual  street-level  perspective  to  be  employed. 

A  very  novel  use  of  photographic  perspective.  The  plan  was  used  by  the 
Advertiser  in  catalog  work,  in  mailing  folders  and  in  standard  magazine  copy. 
Figures  and  products  are  posed,  and  the  camera  pointed  downward  on  the 
scene  from  a  balcony  above.  As  it  was  advisable  to  show  the  INSIDE  of  the 
washing  machines,  when  tops  were  removed,  many  of  these  perspective  illus- 
trations were,  therefore,  unusually  serviceable. 

Unique  perspective  for  an  illustration,  by  means  of  which  the  tires  are  shown 
unconventionally,  strikingly  and  are  forced  into  immediate  eye-range. 

The  product  advertised  in  this  airplane  view  was  roofing,  and  by  looking 
DOWN  on  his  scene,  the  Advertiser  brings  out  his  story  in  admirable  detail, 
to  say  nothing  of  the  asset  of  originality  of  composition.  Such  pictures  as  this 
are  very  certain  to  command  attention. 

Vacuum  cleaner  illustration.  It  has  been  characteristic  of  many  campaigns, 
the  products  of  which  are  difficult  to  portray  in  pictorial  form,  to  "look  down" 
on  various  scenes,  thus  elaborating  detail.  Aside  from  the  fact  that  the  picture 
becomes  commercially  valuable,  as  telling  a  story,  the  compositions  are  strik- 
ingly different  from  the  "average  run." 

Factory  scene.  Normal  \'iews  are  those  which  are  most  often  observed  from 
the  street  level,  from  floor  levels.  But  where  buildings  are  to  be  illustrated,  in 
groups,  and  where  one  structure  is  behind  another,  covering  acres  of  ground, 
it  is  manifestly  impossible  to  secure  the  panoramic  effect  save  by  looking  down 
from  above  as  in  the  accompanying  characteristic  drawing — an  original,  not  a 
photograph.     In  a  case  of  this  kind,  the  camera  is  apt  to  distort. 

By  looking  down  on  the  desk,  as  well  as  other  manufactured  pieces,  the  adver- 
tiser allows  you  to  see  the  more  important  details  and  features.  In  designing 
this  campaign,  the  basic  thought  was:  "Where  people  USE  a  desk  is  the  part 
which  looms  largest  in  their  eyes,  therefore  it  was  our  desire  to  not  only  create  a 
novel  style  of  illustration  but  to  show  the  roominess  of  the  product." 

Photographic  example  of  the  wide  horizons  which  are  made  possible,  by 
means  of  "Bird's-eye"  views  as  the  camera  is  placed  above  the  scene  or  the 
object.  When  artists  are  called  upon  to  produce  original  illustrations  of  such 
panoramas,  the  camera  may  supply  supplementary  working  data. 

Rutty  road.  An  entire  series  of  accumulative  interest  and  advertising  value, 
was  devised  by  this  advertiser,  to  exploit  shock  absorbers,  depending  for  its 
originality,  its  unusual  characteristics,  upon  the  elements  of  applied  perspective. 
The  viewpoint  of  the  artist  and  of  the  reader,  is  that  of  the  person  at  the  wheel 
of  the  car,  skilfully  portrayed.  The  series  brought  out  the  hazard  of  rough 
roads. 


112  ILLUSTRATION  IN  ADVERTISING 

however,  quite  properly  seeks  the  unconventional.  It  is  urged 
to  do  so  by  virtue  of  the  ever-increasing  volume  of  similar  cam- 
paigns. It  is  just  as  valuable  for  an  advertiser  to  conceive  a 
fresh  viewpoint,  pictorially,  as  to  seek  untrammeled  ideas  and 
copy. 

And  it  is  here  that  perspective  comes  to  the  rescue.  It  takes 
the  most  prosaic  object  or  idea  and  suppUes  innovation  both  of 
atmosphere  and  of  technical  details.  And  because  the  pubHc 
does  not  commonly  see  things  from  this  viewpoint,  it  is  more 
than  ordinarily  interested;  its  imagination  is  stimulated. 

The  average  magazine,  or  newspaper,  reader  would  discover 
nothing  startling  in  the  skilful  painting  of  an  automobile,  if 
the  artist  should  select  as  his  perspective  the  visual  street 
range  commonly  used.  If,  as  was  actually  done,  a  campaign 
of  illustrations  was  prepared,  looking  down  upon  cars  and  their 
environment,  attention  would  be  intrigued. 

To  present  pictures  of  people  and  of  things  as  they  are  not  com- 
monly seen  is  a  proved  advertising  asset,  provided  attention- 
compelling  value  is  of  primary  importance.  Sometimes,  an 
advertiser  sets  out  to  do  this  because  he  wishes  to  present  an 
illustrative  novelty,  well  off  the  beaten  path.  The  far  more 
legitimate  use  of  perspective  is  related  to  an  advertising  need 
and  a  selling  requisite.  The  product  difficult  to  show  is  handled 
satisfactorily  when  perspective  is  varied.  In  other  words,  there 
is  a  commercial  value  to  the  idea. 

It  is  possible  more  clearly  to  demonstrate  this  by  referring 
to  a  number  of  conspicuously  successful  and  workman-like 
examples.  Studied  perspective  makes  the  illustration  a  better 
picture  for  the  purpose.  It  assists  chiefly  in  selhng  goods  and  in 
clarifying  some  special  talking  point,  aside  from  its  novelty 
and  its  appeal  to  the  imagination. 

The  manufacturer  of  an  appliance  which  is  used  in  practically 
all  of  the  departments  of  any  large  business  had  to  tell  the  story 
of  an  intercommunicating  system,  whereby  a  dozen  or  more 
offices  were  benefited  and  served  by  the  work  performed.  To 
picture  one  office,  or  one  desk,  would  not  be  visualizing  the  story. 
Nor  would  a  view  of  large  offices,  as  customarily  seen  from  the 
main  entrance,  fill  this  order.  Offices  were  separated  by  parti- 
tions. No  normal  vista  or  photographic  panorama  could  be 
made  to  cover  the  ground.  An  artist,  working  in  skeletonized 
pen  outline,  dispensed  with  partitions  and,  from  a  station  point 


THE  ANGLE  OF  PERSPECTIVE 


113 


above,  drew  his  picture  of  the  complete  floor  space  of  a  luodcrn 
business,  inckuling  workers  at  their  desks.  At  a  glance  the  eye 
took  in  this  diagrammatic  illustration  and  its  message.  Normal 
perspoctivc  would  not  have  permitted  a  picture  of  this  character. 


Ives  Toys 

MAKE  HAPPY  BOYS 

TRAIKS  AND   ACCESSORIES 

CLT  TH  IS  CX'T  WITH  \.  'l 

h 


Fi(i.   70.--Persijective  permits  the  showing  of  the  entire   niiniudire 
railway  system. 

In  practically  all  of  the  instances  here  cited,  the  perspective 
idea  involved  belongs  to  the  "bird's-eye-view"  classification, 
and  this  is  by  far  the  most  popular  and  serviceable.  It  is  as  if 
the  artist  had  drawn  his  picture  from  some  position  above  the 
scene  selected.  He  looks  down  upon  it.  The  result  is  invariably 
a  canvas  which  wins  unusual  attention,  while  delivering  a  pre- 
cious selling  message. 


114 


ILLUSTRATION  IN  ADVERTISING 


Remember  this:  There  is  nc  subHinite 
for  Ditto.  No  other  known  form  of 
"short  run"dupIication  rivals  its  speed,  its 
accuracy,  its  economy.  Wherever  there 
are  orders  or  invoices  to  be  reproduced, 
wherever  there  are  requisitions,  ac- 
counting forms  and  the  like  to  be 
exa<flly  copied— there  Ditto  will  serve 
and  save.  Invite  him,  and  the  Ditto 
Man  near  you  will  be  glad  to  show  yew 
how— or,  send  for  the  Ditto  Book 
and  get  the  £iory  complete. 

Ditto,  Incorporated 

3nl  Floor.  S30  South  Dearborn  Sim 
Chicago 

Ditto 

THE  QUICKEST  WAY  TO  OUPUCATE 


rAut  k^tftitt  •"  rMtMf 


y 


^  ^  .* 


Fig.  71. — By  the  aid  of  perspective,  an  advertiser  presents  an  illustration  of  a 
look-down  view  of  an  entire  business-office  floor — which  would  be  impossible 
otherwise.     The  perspective  thought  was  utilized  throughout  a  connected  series. 


THE  ANGLE  OF  PERSPECTIVE 


115 


A  firm  advertising  metal  roofings  at  first  could  hit  upon  no 
pictorial  scheme  of  an  original  character  other  than  to  secure 
photographs  of  buildings  and  installations  exactly  as  had  been 
done  for  years.  Such  illustrations  would  not  feature  the  roofs. 
The  side  elevations  were  forced  extravagantly  upon  the  vision. 
And  there  was  an  added  reason  why 
the  old-style  idea  did  not  look  en- 
couraging; a  part  of  the  argument 
was  to  tell  about  certain  types  of 
roofs,  structurally,  such  as,  for  ex- 
ample, the  "standing  seam." 

An  artist  made  an  obvious  sug- 
gestion. "If  you  wish  to  show  roofs," 
he  declared,  "why  not  look  down  on 
them  from  above.  A  bird's-eye  per- 
spective is  what  you  require.  In 
this  way,  we  feature  the  roofs,  and 
dispense  with  almost  all  other  non- 
essential detail." 

A  series  was  made  after  this  fashion 
and  it  was  instantaneously  successful. 
By  placing  one  large  building  in  the 
foreground  and  by  including  just 
enough  surrounding  scenic  investure 
and  figure  animation,  the  severity  of 
the  subject  was  relieved.  It  may  be 
interesting  to  note  that  the  artist 
made  technical  notes  from  airplanes 
and  skyscrapers. 

The  picturization  of  large  factories, 
industrial  plants  of  all  kinds,  and  views       fig.  72.— Perspective  opens 

of    institutions   made  up  of    countless     up  more  liberal  \istas  for  the 

11        •,  1,1  ,     r  ,1  i-  advertising  illustrator.    In  this, 

small  units  would  be  out  of  the  question     ^ne    of    a    remarkable     series. 

were  it  not  for  the  possibilities  of  per-     action   is  magnified  and  many 
,  •  1  •  11  •j.t.  a  little  individual  zones  of  inter- 

spective  drawmg,  whereby,  with  floor    ^3^  ^^^  be  introduced. 
plans  and  separate  photographs,  the 

artist  pictures  his  complex  scene  as  from  above.  Ordinary  cameras 
distort  such  panoramas.  A  picture  made  from  the  street  would 
include  no  more  than  the  buildings  in  the  immediate  foreground. 

In  the  production  of  such  illustrations,  the  modern    airplane 
camera  is  of  invaluable  aid.     Although  the  pictures  taken  can 


116 


ILLUSTRATION  IN  ADVERTISING 


seldom  be  used,  they  supply  the  architectural  artist  and  pano- 
ramic expert  with  the  material  he  needs.  The  production  of 
illustrations  of  this  type  is  a  distinct  specialization,  and  it  is 
here  that  the  rules  and  the  mechanics  of  perspective  are  put  int9 
intensely  scientific  practice.  Nothing  is  taken  for  granted  and 
the  eye  is  not  trust otl. 


Fig.  73. — Perspective  allows  the  advertiser  to  show  liis  product  when  said 
product  is  in  a  hard-to-see  place  or  position,  as  in  this  very  striking  example. 
The  heater  happens  to  be  under  the  feet  of  the  occupant  of  the  automobile  and  no 
average,  normal  \'iewpoint  would  bring  it  out  clcarlj\  The  artist,  however, 
looks  from  above  and  down,  over  the  shoulder  of  his  figure,  and  immediately  the 
advertised  product  becomes  dominant  in  the  comjiosition.  Moreover,  it  means  an 
unconventional  posing  of  the  human  interest  units. 

For  a  number  of  years,  advertisers  of  carpets  and  rugs  were  a 
little  disturbed  and  perplexed  because  illustration  failed  to  ade- 
quately present  the  product.     Sharp  perspective  displayed  more 


THE  ANGLE  OF  PERSPECTIVE 


117 


of  everything  in  the  room  than  the  floor  coverings.  It  has  not 
been  until  recent  years  that  resourceful  artists  put  the  look-down 
view  to  work,  thereby  visualizing  the  product  as  never  before  and 
making  it  possible  to  show  pattern  details.  Even  human  figures 
are  introduced  and  the  most  unusual  views  of  them  are  obtained. 


Bird's  J^cponsct  Ru^s 

DEFY  WATER  AND  WEAR      ^^ 


Fig.  74. — A  most  ingenious  application  of  the  rules  of  perspective.  Looking 
down  upon  the  product  ...  a  rug  .  .  .  the  artist  not  only  introduces  pat- 
tern detail,  which  would  be  otherwise  out  of  the  question,  but  visualizes  figures  in 
a  refreshingly  attractive  manner.  To  "look  across"  at  a  rug,  as  if  standing  on 
the  floor  level,  would  mean  distortion. 


which  automatically  adds  another  virtue  to  the  idea,  because 
novelty  is  an  essential  adjunct  to  advertising  art.  It  has  been 
often  said  by  experts  that  there  are  few  things  more  difficult  to 


118  ILLUSTRATION  IN  ADVERTISING 

draw  than  a  heavily  patterned  rug,  or  carpet,  in  sharp  perspective. 
The  modern  method  of  simphfying  the  task  is  to  spread  the  floor 
covering  out  in  a  large  room  and  to  photograph  it  in  the  exact 
perspective  required. 

This  photograph  may  be  mounted,  and  figures  and  accessories 
painted  on  its  surface,  the  print  serving  as  an  accurate  guide  for 
colorist,  for  retoucher,  or  for  the  artist  who  may  employ  the 
photograph  as  a  technically  correct  guide  from  which  to  paint 
or  draw. 

The  value  of  perspective,  in  a  commercial  sense,  as  helping  to 
elaborate  a  sometimes  hidden  or  clumsily  positioned  product,  is 
to  be  observed  in  a  remarkable  series  for  a  manufacturer  of  auto- 
mobile heating  devices.  The  mechanical  part  which  it  was  desir- 
able to  call  to  the  attention  of  the  prospect  was  the  metal  grill 
work  plate  set  into  the  floor  of  the  car.  Because  closed  cars  were, 
of  course,  the  rule,  the  problem  of  properly  illustrating  this 
feature  may  be  well  understood.  The  task  was  made  still  more 
involved  by  the  necessity  of  introducing  figures  which,  in  every 
case,  were  to  reflect  the  comfort  of  the  heating  system.  By 
looking  over  the  shoulder  of  an  occupant  and  down  to  the  floor 
of  the  limousine,  the  artist  overcame  every  supposed  obstacle. 
The  pictures  were  always  striking  and  original  in  composition. 

Photographs  and  original  drawings  of  a  certain  electric  washing 
machine  proved  of  passive  advertising  value,  because  the  exterior 
of  the  device  counted  for  less  than  the  inside  mechanism.  But 
to  picture  sectional  views  and  strip  off  the  outer  frame  meant  to 
run  the  risk  of  presenting  illustrations  which  were  mechanical 
and  complex  and  therefore  not  particularly  interesting  to  women. 
Accordingly,  several  models  were  photographed  from  above, 
their  tops  put  back.  Enough  of  the  exterior  features  of  the 
washer  remained  in  the  picture  to  identify  the  machine,  and  the 
mechanism,  which  was  novel,  was  shown  admirably. 

An  advertiser's  story  for  an  entire  campaign  had  to  do  with 
multitudes  of  people,  hurrying  along  crowded  routes  of  traffic. 
Four  out  of  five  of  these  people  suffered  from  a  common  ailment. 
A  perspective  from  the  angle  of  the  soaring  bird  helped  to  make 
this  advertisement  differ  from  the  usual  study. 

A  series  of  ingenious  illustrations  for  another  advertiser 
selected  as  their  basic  theme  vistas  of  the  street  life  of  various 
communities.  As  many  as  two  or  three  hundred  persons  and 
numerous  duildings,  animals,  and  motor  cars  had  to  be  included. 


THE  ANGLE  OF  PERSPECTIVE  119 

They  were  cross-sections  from  city  life.  That  the  artist 
employed  as  his  station  point  the  view  which  might  be  had  from 
the  window  of  a  four-story  building  allowed  him  to  picture 
objects  in  full  detail  and  with  no  overlapping  of  subjects. 

The  best  perspective  studies  are  the  result  of  analysis.  The 
artist  does  his  best  to  see  the  object  or  the  scene  in  the  same  way 
and  under  the  same  conditions  which  are  to  govern  the  reader's 
station  point.  This  is  more  particularly  true  of  technical  draw- 
ings. In  another  generation,  perhaps,  when  the  airplane  becomes 
demonstrably  practical  for  the  masses,  the  look-down  view 
may  lose  its  present  novelty  and  attraction. 

Some  years  ago,  a  genius  drew  a  series  of  pictures  which  were 
worm's-eye  views;  that  is,  the  artist  looked  up  from  underneath 
at  the  subject.  Advertisers  will  go  to  any  extreme  to  bring  out 
their  specific  talking  points.  One  maker  of  cars  wished  to  feature 
parts  of  the  chassis,  and  the  worm's-eye  illustration  was  exactly 
what  the  situation  demanded.  To  see  a  thing  and  to  picture  it 
as  it  is  not  customarily  seen  by  the  majority  of  persons  has 
brought  out  the  unconventional  advertising  illustration. 


CHAPTER  XV 
THE  PRODUCT  IN  HEROIC  SIZE 

The  illustration  of  the  groups  of  tiny  men  tying  the  "giant" 
Gulliver  to  the  ground  in  "  Gulliver's  Travels"  serves  as  a  striking 
example  of  what  vivid  contrast  will  accomplish,  pictorially,  when 
two  opposing  elements  are  placed  side  by  side.  Similarly,  again, 
when  Swift  reversed  the  idea  and  the  insignificant  Gulliver  was 
held  in  the  palm  of  a  great  Brobdingnag  hand,  imagination  was 
stimulated.  Small  objects  may  be  given  heroic  proportions  and 
added  advertising  value  or  they  maybe  fitted  into  unique  environ- 
ment by  the  same  interesting  process. 

The  unusual  in  illustration  is  invariably  sure  of  its  following. 
Pictures  which  present  the  striking,  the  unaccustomed,  the 
daringly  original,  are  attractive  to  everyone.  They  are  fairy 
stories  told  to  an  audience  wiUing  to  make  the  story  come  true. 

Advertisers  frequently  feel  the  need  of  concentrating  solely 
upon  their  products.  They  desire  the  public  to  think  in  terms  of 
a  certain  package,  a  machine,  a  cake  of  soap,  or  a  kitchen  cabinet. 
Where  the  thing  advertised  is  new,  its  form  must  be  quickly 
impressed  upon  public  consciousness  in  a  business-like  manner. 

One  of  the  obligations  of  advertising,  of  course,  is  to  familiarize 
the  consumer  with  the  physical  attributes  of  the  article  it  is 
hoped  he  will  buy.  He  should  not  only  recognize  it  inmiediately, 
when  he  sees  it  on  display,  but  should  also  look  for  it.  All 
of  this  has  to  do  with  the  acknowledged  psychology  of  purchasing- 
hour  contact,  and  is  less  a  theory  than  it  is  thought  to  be. 

The  type  of  advertiser  whose  need  for  these  odd  pictorial 
approaches  is  peculiarly  valid  is  one  whose  product  is  small  and 
therefore  difficult  of  illustration  where  accessories  are  employcil. 
If  the  product  happens  to  be  a  spark  plug  for  an  automobile  and 
the  illustration  incorporates  the  showing  of  the  entire  car,  plus 
figures,  it  is  obvious  that  the  actual  reproduction  of  the  product, 
if  normally  introduced,  will  be  insignificant.  Here  is  where  the 
Gulliver-in-Lilliput  idea  makes  a  likely  case  for  itself. 

120 


THE  PRODUCT  IN  HEROIC  SIZE  121 

An  entire  series  of  illustrations  for  an  automobile  battery  feat- 
ured the  product  in  giant  size,  as  compared  with  the  cars.  The 
Battery  became  the  Gulliver  of  the  campaign,  and  the  automo- 
biles surrounding  it,  were  tiny  Lilliputians.  A  battery  is  a  thing 
hidden  from  sight.  It  is  not  seen  when  the  machine  is  viewed  in 
action.  The  advertiser  is  therefore  faced  with  a  double  handicap; 
not  only  is  the  object  he  wishes  to  show  small,  by  comparison 
with  its  native  accessories,  but  it  is  also  beneath  the  visual  surface. 


Fig.  75. — A  storage  battery  is  a  product  which,  when  performing  its  service,  is 
hidden  from  sight.  A  mere  reproduction  of  it,  unembellished,  would  not  provide 
impressive  illustrative  material.  By  giving  it  heroic  proportions,  however,  and 
surrounding  it  with  tiny  cars,  it  is  made  to  loom  large  in  the  consciousness  of 
the  public.  The  E.xide  series  in  which  this  plan  was  adhered  to  throughout, 
was  spectacularly  successful. 

What  are  his  opportunities?  To  visualize  a  faithful  still  life 
of  the  battery  would  not  constitute  a  spectacular  or  unusual  type 
of  illustration.  Indeed,  it  would  be  very  commonplace.  And, 
all  the  while,  able  competitors  are  to  be  considered.  There  is  a 
likelihood  of  duplication  of  layout.  To  rise  above  the  common- 
place, each  advertiser  must  plot  out  an  illustrative  scheme  of  his 
own.     There  is  something  of  the  orator  and  of  the  showman  in 


122  ILLUSTRATION  IN  ADVERTISING 

every  advertiser,  and  justly  so.  He  must  make  his  product 
dominant. 

In  the  case  of  the  advertiser  mentioned,  the  problem  was  over- 
come by  deliberately  emplo^dng  the  Gulliver  idea.  Immense 
battery  boxes  were  shown,  rising  from  miniature  scenic  investure 
and  toy  cars.  If  cars  are  contrasted  to  a  battery  visualized  as 
higher  than  a  skyscraper,  it  is  certain  than  an  illustration  will  be 
conceived  which  must  attract  far  more  than  ordinary  attention. 
The  product  gains  secure  dominaiice  by  a  feat  of  contrast. 
If  a  battery  a  quarter  of  a  mile  high  stood  on  the  public  square, 
passers-by  would  most  assuredly  pay  it  a  tribute  of  interested 
speculation. 

There  has  always  persisted  a  mystery  in  connection  with  illus- 
trations of  this  character,  much  as  if  there  was  a  "  catch"  in  it  or 
a  species  of  "black  art "  of  the  studio.  The  mystery  of  its  accom- 
plishment deepens  where  the  picture  is  photographic  throughout. 
The  camera  does  not  lie,  according  to  popular  fancy;  therefore, 
if  it  is  a  photograph,  it  must  be  largely  true. 

But  the  mechanics  of  production  are  simple  enough.  It  may 
mean  no  more  than  the  skilful  dovetailing  of  two  prints.  The 
result,  in  the  case  of  the  automobile  battery,  may  be  achieved  by 
taking  a  photograph  of  a  street  scene  and  fitting  into  and  over  it 
an  enlargement  of  the  product.  It  is  necessary  to  be  sure  that 
the  perspectives  match  and  are  wholly  consistent.  They  must 
both  be  on  the  same  visual  planes.  In  fact,  the  perspective  must 
be  perfect  when  building  a  print  or  the  illusion  is  destroyed.  It 
is  a  not  uncommon  practice  to  make  a  pencil  sketch  of  the 
illustration  and  to  use  it  as  the  floor  plan  for  the  making  of  the 
separate  photographs.  A  man,  as  tall  as  the  highest  building, 
can  be  made  to  walk  along  a  city  street,  his  head  above  the  roof 
tops,  and,  to  all  intents  and  purposes,  it  will  carry  the  conviction 
of  some  amazingly  authentic  camera  study.  Retouching  may  be 
necessary,  of  course,  such  as  the  silhouetting  of  the  superimposed 
print,  the  shaving  down  of  the  abrupt  edges,  and  the  painting 
out  of  all  places  which  might  show  up  in  reproduction.  Occasion- 
ally, shadows  are  of  practical  assistance.  The  secondary  techni- 
cal requirement  in  combining  prints  is  that  the  lighting  cannot 
have  two  sharply  defined  sources  but  must  seem  to  come  from  one 
direction. 

The  same  general  rule  as  to  photographically  prepared  illus- 
trations of  this  sort  applies  to  all  subjects,  animate  or  inanimate. 


THE  PRODUCT  IN  HEROIC  SIZE  123 

The  foundational,  or  background,  print  is  mounted  and  the 
second   subject   placed   over   it   in   an   advantageous   position. 

Giving  the  product  vast  proportions  is  a  popular  idea,  and 
probably  always  will  be,  because  of  its  remarkable  possibilities. 
Unimportant  and  insignificant  objects  may  be  given  exalted 
strength.  Detail  can  be  emphasized.  Things  which  are  not, 
in  their  own  right,   dramatic,   can  be  given  dramatic  power. 

By  the  mere  pictorial  expedient  of  placing  the  small  figure  of  a 
golfer,  in  action,  in  direct  juxtaposition  to  a  large  showing  of  the 
face  of  a  club,  an  advertiser  of  such  products  creates  an  illustra- 
tion which  is  in  no  sense  commonplace  and  which  serves  several 
significant  advertising  purposes.  The  following  elements  of 
selling  interest  surround  the  article  advertised  in  this  way: 

1.  Possibilities  of  manufacturing  detail,  featured. 

2.  Creating  of  a  spectacular  type  of  illustration. 

3.  Combining  of  human  interest  with  still  life  along  new  and 
original  lines. 

4.  A  picture  which  automatically  creates  its  own  interested 
audience. 

Contrast  in  the  techniques  employed  often  assists  in  these  pic- 
torial illusions.  It  is  not  uncommon,  where  an  advertiser 
desires  to  give  added  importance  to  his  product,  to  render  it  in 
realistic  style,  while  miniature  accessories  are  in  an  entirely 
different  mood. 

Use  will  here  be  made  by  way  of  illustration  of  a  series  which 
was  popular  in  its  day  and  which  ran  continuously  for  several 
advertising  seasons.  The  methods  employed  will  be  every  bit 
as  workman-like  a  century  from  now.  It  is  a  scheme  which  time 
may  not  wither. 

In  this  case,  a  maker  of  hinges  felt  that  former  showings  of 
his  goods  were  far  short  of  stimulating.  The  public  in  general 
could  not  be  expected  to  grow  enthusiastic  over  a  photograph  or 
original  wash  drawing  of  a  door  hinge.  Certainly  it  lacked  any- 
thing approximating  the  dramatic  Besides,  when  a  hinge  was 
shown  on  a  door,  in  relatively  normal  proportion,  it  could  scarcely 
be  seen. 

A  series  of  colorful  studies  of  hinges  was  made;  and  super- 
imposed across  the  lower  portions  of  them  were  line  or  pencil 
drawings  of  various  models  of  houses.  The  hinges  loomed  in 
gigantic  proportions  above  the  roofs  of  these  tiny  dwellings.  As 
a  consequence,  hinges  began  to  take  on  astonishing  significance. 


124 


ILLUSTRATION  IN  ADVERTISING 


It  was  rightly  argued  by  the  advertiser  that  hinges  arc  of    far 
greater  importance  than  most  people  imagine. 

Here,  however,  combination  art  techniques  were  of  practical 
assistance.  When  placed  side  by  side,  the  sketchy,  outline  pencil 
and  pen  drawings  of  the  houses  provided  rugged  contrast  for  the 
half-tone  of  the  hinges.  One  relieved  the  other;  one  set  off  the 
other.  There  was  no  confusion  and  no  melting  of  one  object 
into  its  neighbor.  Where  such  campaigns  are  planned,  combina- 
tion plates  are  advisable,  that  is,  part  line  and  part  half-tone. 
This  need  not  handicap  the  artist  to  any  extent.  The  engraver 
knows  how  to  secure  technical  perfection. 


Fig.  7G. — Illustrating  a  pair  of  hinges  on  a  door,  under  normal  conditions, 
would  scarcely  provide  the  advertiser  with  adequate  material.  The  moment 
contrast  is  supplied  however,  and  this  contrast  automatically  making  a  small 
product  seem  giant-sized,  the  result  is  a  serial  theme  which  may  lay  strong  claim 
to  accumulative  power. 


Wearied  of  the  monotony  of  illustrations,  advertisers  periodi- 
cally break  away  from  convention  and  go  on  a  Gulliver  tour,  pic- 
torially.  They  can  be  sure  of  one  point  at  least;  the  product  will 
not  be  submerged.  It  will  claim  the  center  of  the  stage.  It 
will  loom  large  on  the  horizon  of  the  vision  and  of  the  mind.  A 
cereal  manufacturer  with  an  unpretentious  package  placed  a 
mountain-high  container  in  the  midst  of  a  wheat  field,  10  miles 
across,  and  at  once  the  unassuming  product  is  made  to  seem  of 
aggressive  visual  importance.  Such  illustrations,  contrary  to 
popular  opinion  arc  no  more  difficult  to  make  than  others. 

In  a  street  parade  of  the  industries  of  a  community,  the  float 
which  attracted  the  most  attention  was  the  perfect  replica  of  a 
smoker's   pipe,   reproduced   fifty   feet  in  length  and  naturally 


THE  PRODUCT  IN  HEROIC  SIZE 


125 


colored.  Smoke  was  made  to  rise  from  its  bowl.  People  are 
attracted  to  such  displays  because  of  their  original  and  uncon- 
ventional character.  They  represent  the  unexpected,  things  not 
ordinarily  seen. 

It  may  well  be  asked,  "Is  exaggeration  ever  wise  in  advertis- 
ing, even  when  obviously  for  effect?"     The  answer  must  be  in  the 


Fio.  77. — A  bitiiery  box  rises  high  above  its  surroundings  and  would  appear 
to  be  a  gigantic  product,  by  virtue  of  relative  values,  as  interpreted  by  the 
artist. 


fact  that  people  do  not  look  upon  illustrations  of  the  Gulliver  type 
as  attempts  to  deceive.  An  enlarging  glass  is  thrust  before  the 
product,  with  the  best  intentions  in  the  world. 

The  human  eye  is  strangely  atuned  to  the  normal.  Anything 
which  honestly  startles  it  causes  a  sudden  flash  of  interest,  not 
to  say  admiration.  Concentration  is  assured.  For  that  moment 
or    two    an    advertiser   has   undivided   attention.     There   was 


126 


ILLUSTRATION  IN  ADVERTISING 


recently  placed  on  exhibition  in  a  museum  the  faithful  reproduc- 
tion of  a  common  ant,  enlarged  to  the  proportions  of  a  horse. 
The  exhibit  was  crowded  on  all  occasions.  People  were  inter- 
ested in  detail  and  intricate  organism.  Ordinarily,  a  tiny  ant 
might  not  have  attracted  a  score  of  investigative  persons  within 
the  space  of  a  year. 


THATCHER 


BOTTLES  for  MILK 

IC'hcn  llici/  sat/  a  quart  Ihei)  mean  it 


Fio.  78.^ — An  ordinary  milk  bottle  may  not  be  said  to  form  tlie  basis  of  an 
extraordinary  illustration.  But  when  the  artist  combines  unique  technique,  with 
a  showing  of  the  container,  hundreds  of  feet  high,  sitting  in  the  midst  of  attrac- 
tive outdoor  environment,  a  commonplace  product  takes  on  immediate  ^•isual 
interest. 


To  essories  place  accin  the  Lilliput  cla.ss  is  no  more  than  good 
advertising  art.  There  is  always  a  tendency  for  illustrations  to 
minimize  the  importance  of  the  product,  because  of  the  confusing 
volume  of  background  detail.  If,  therefore,  an  advertiser  can 
create  a  type  of  picture  which  puts  the  product  forward,  it  fills 
the  eye,  while  holding  down  the  attention-compelling  value  of 


THE  PRODUCT  IN  HEROIC  SIZE 


127 


accessories.     In  one  way  or  another,  advertisers  of  a  certain 
class  of  products  are  seeking  just  such  solutions  as  this. 

The  advertising  page  is  the  show  room,  the  shelf,  the  store 
counter,  and  the  salesman's  display  rack  of  printed  contact. 
The  closer  it  comes  to  a  fulfilment  of  the  retailer's  demonstra- 


FiG.  79. — A  jar  of  salad  dressing  is  made  to  seem  as  large  as  the  island  of  Man- 
hattan by  a  comparatively  simple  perspective  expedient. 


tion  the  better.  If  the  background  vista  of  the  store  can  be  seen 
through  a  haze,  with  the  attention  of  the  customer  concentrated 
upon  a  single  object,  an  ideal  has  been  attained.  If  an  advertis- 
ing illustration  focuses  attention  upon  the  product  itself,  glorify- 
ing it,  giving  it  every  advantage,  and  making  it  appear  a  giant  by 
contrast,  it  would  appear  to  fulfil  its  major  obligation. 


CHAPTER    XVI 
OUTLINE   TECHNIQUE 

There  are  any  number  of  constructive  reasons  why  an  adver- 
tiser seeks  a  distinctive  technique.  It  is  commonly  supposed 
that  a  sameness  in  technique  throughout  an  entire  campaign 
is  employed  more  or  less  to  hold  the  schedule  to  a  common 
family  resemblance  as  to  physical  attributes.  In  reality,  the 
requirement  is  as  fixed  as  law.  People  finally  associate  the 
technique  of  the  illustration  with  the  product  and  with  the  cam- 
paign in  its  aggregate  sense.  Keeping  an  entire  series  in  exactly 
the  same  spirit  is  an  advertising  asset,  in  addition  to  making 
identification  easy.  Often  a  technique  is  chosen  for  the  reason 
that  it  will  attract  greater  visual  interest  in  mixed  company. 

The  "pure  outline"  school  is  important  enough  to  have  a 
chapter  devoted  to  it.  It  is  most  commonly  employed  for  the 
purpose  of  fighting  off  illustrative  competition  and  it  has  no 
worthy  rival  in  this  field,  strangely  enough.  This  statement 
would  appear,  at  first  reading,  to  disregard  tradition.  It  would 
be  reasonable  to  assume  that  the  more  color  or  the  more  black 
and  the  greater  volume  of  shaded  area  there  is  in  a  drawing  the 
greater  the  power  to  offset  surrounding  illustrations. 

But  competition  in  display  is  to  a  not  inconsiderable  extent 
regulated  by  contrast.  If  statistics  show  that  on  the  average 
newspaper  page  or  on  the  average  mixed  magazine  page  the 
preponderance  is  largely  of  shaded  illustrations  or  of  those 
carrying  large  areas  of  black,  it  may  be  safely  set  down  that  a 
picture  drawn  in  delicate  pen  outline,  with  no  shading,  no  blacks 
and  no  variation  of  values  or  tones  will  make  its  presence  felt 
immediately  and  in  no  uncertain  terms.  The  element  of  con- 
trast has  entered  into  that  of  vision.  It  is  for  the  same  reason 
that,  in  a  row  of  fifteen  or  twenty  full-color  street  car  cards 
competing  for  attention  through  power  of  rainbow  extrava- 
ganzas, a  simple  black  and  white  card  will  catch  the  eye  first, 
provided  it  has  been  scientifically  put  together., 

128 


OUTLINE  TECHNIQUE 


129 


In  the  newspaper  field,  one  advertiser,  an  experienced  and 
investigative  student  of  the  possibilities  of  display,  has  gone 
through  laboratory  tests  to  arrive  at  his  conclusion.     Because 


To  men  'wh.o  attend  banqiuLets 


The  favorite  peroration  of  orators  and 
after-dinner   speakers    begins,  "What 

this  country  needs,  therefore,  is ," 

and  the may  be  anything  from 

bener   hairpins    to    bigger,   brighter, 
better  after-dinner  speakers. 

But  since  1879*  you  haven't  heard 
anyone  say,  "What  this  country  needs 
is  a  better  soap." 

For  in  that  year  arrived  what  may 
be  called  the  soap-millennium.  All 
the  under-sea  work  in  the  bathtub — 
the  constant  searching  for  sinker-soap 
— which  had  wasted  so  much  of 
men's  time  and  patience,  became  at 
once  unnecessary.  The  gymnastics 
of  lather  produaion  were  automati- 
cally cut  down.  And  from  an  incon- 
clusive labor  of  faith,  rinsing  grew  to 


be  a  mathematically  exact  science. 
Soap  purity  changed  at  once  from  a 
theory  to  a  condition. 

As  the  use  of  Ivory  Soap  ("It  floats 
— 99"/ioo%  pure")  spread  country- 
wide, there  was  a  noticeable  improve- 
ment in  men's  dispositions;  the  home 
atmosphere  became  brighter,  and 
much  surplus  energy  was  stored  up, 
to  be  released  later  in  the  pursuit  of 
fame,  golf  balls  and  cynical  fishes. 

Gentlemen,  it  is  necessary  to  admit  that  there 
are  still  men  who  have  neglected  the  opportuni- 
ties for  self-improvement  and  social  betterment 
offered  by  the  daily  use  of  Ivory  Soap  for  bath- 
ing, &ce-washing  and  shampooing.  What  the 
country  needs,  therefore,  is  that  these  stragglers 
be  brought  into  the  fold.  What  makes  our  task 
so  pleasant  is  that  when  such  insouciant  souls 
finally  do  succumb  to  the  blandishments  of 
Ivory,  they  always  become  the  most  enthusiastic 
of  its  champions.  PROCTER  &  GAMBLE 


mA(  ^  lt*ry  5^f  1MJ  fU. 


IVORY  SOAP 

5i9"/i«r.  PURE  IT  FLOATS 


Ac  home — 

When  you  have  Ivory  (medium  iiie) 
fot  youf  ba(h  and  shainpoo,  and  GueM 
Ivory  (che  new  smaller  Ivory  calre)  for 
your  face  and  hands,  your  soap  njuip- 
mcnt  rates  100%. 


Fig.  80. — It  was  never  intended,  from  the  inception  of  this  significant  series 
of  magazine  pages,  that  the  illustration  should  be  more  than  a  mere  postscript. 
The  type  story  is  the  thing.  An  outline  technique  not  only  accomplishes  this 
objective  but  provides  individuality  of  campaign  atmosphere. 


he  uses  more  space  in  a  larger  list  of  newspapers  than  any  adver- 
tiser -within  knowledge,  the  results  of  eighteen  years  of  con- 


130 


ILLUSTRATION  IN  ADVERTISING 


scientious  experience  must  be  taken  seriously.  No  picture  drawn 
for  him  is  shaded;  on  the  contrary,  the  lines  are  strong  and  sim- 
ple. Having  tried  every  available  technique,  he  settled  upon 
the  most  abbreviated  of  all,  because  he  has  found  that  by  doing 
so  his  small-space  displays  are  more  certain  of  visual  attention 
than  larger  pictures  in  unbridled  detail.  The  many  blacks  in 
surrounding  material  and  the  full-shade  techniques  emphasize, 
by  contrast,  the  vastly  simpler  compositions.  Exactly  the 
opposite  would  be  true  if  the  majority  of  advertisers  suddenly 


Fig.  81. 

Left. — The  use  of  a  pure,  delicately  fashioned  outline  pen  technique,  for  sec- 
ondary illustration  purposes,  and  to  pro\'ide  contrast  for  the  main  picture  in 
halftone.  Thus,  one  illustration  does  not  detract  from  the  other  and  each 
becomes  a  wholly  separate  unit. 

Right. — Aside  from  the  fact  that  the  outline  pen  technique  gives  first 
importance  to  the  typographical  message,  it  also  serves  as  a  buffer  for  the  product, 
which,  in  the  present  case,  is  made  sufTiciently  strong  to  dominate. 


began  to  use  delicate  outline  pictures.     Then  the  picture  made  up 
of  strong  blacks  would  most  certainly  hold  first  place. 

An  excellent  method  of  testing  this  out  is  to  select  a  dozen 
or  more  heavily  illustrated  newspaper  pages,  whereon  many 
competing  displays  are  to  be  found,  and  to  analyze  the  relative 
values.     The  outline  illustration  will  hold   its  own  and   even 


OUTLINE  TECHNIQUE 


131 


more  than  its  own  in  this  mixed  company.     Heavy  blacks  form 
a  setting  for  it  and  supply  desirable  contrast. 

The  same  principle  prevails  on  a  magazine  page  which  is 
composed  of  from  four  to  eight  individual  illustrated  advertise- 
ments. Contrast  is  invariably  the  life  and  essence  of  attention- 
compelling  value.  And  there 
arc  more  full-shade,  photo- 
graphic, heavy  black  illustra- 
tions than  there  are 
illustrations  in  delicate  skel- 
etonized form.  Aside  from 
the  novelty  of  their  style, 
there  is  a  scientific  justifica- 
tion for  their  use. 

Some  advertisers  feel  that 
the  reading  matter  is  of 
greater  importance  than  any 
illustration.  If  the  picture 
is  strong,  cluttered  with  de- 
tail, aggressive,  it  is,  of  course, 
certain  to  overshadow  the 
type.  In  the  order  of  visual 
power,  the  picture  comes  first. 
If  the  illustration  is  in  pen 
outline,  there  being  no  con- 
trast and  no  change  in  the 
weight  of  these  lines,  the 
lightest-faced  type  will  domi- 
nate, and  display  lines  or 
name  plates  will  be  relatively 
more  vigorous. 

It  is  unquestionably  true 
that  where  an  advertiser  has 
a  prejudice  against  illustrations  which  overwhelm  the  text,  the 
shadowy  cobweb  pen  picture  is  a  certain  means  of  establishing 
his  form  of  display. 

Nor  is  it  necessarily  true  that  any  type  of  subject  material 
need  lose  by  this  handling.  Figure  compositions  or  still-life 
studies  can  be  made  equally  charming,  atmospheric,  and  con- 
sistent with  the  stories  they  are  to  tell. 


THERE'S  sound  reasoning  behind 
the  man  who  asks  about  the  bear- 
ings in  the  tractor  he's  buying.  Keen- 
sighted  farmers  know  when  the  dealer 
says  "Hyatt"  they  need  ask  no  more — 
because  Hyatt  bearings  are  an  indication 
of  the  service  built  into  the  implement 

For  d amfitit  liil  of  }ijaaEq^pP€d  Tiaemn  uni  fmplenmD,  vnitt 

Hyatt  Roller  Bearing  Company 

Detrort  Wotceacr  Ntw.rle  HontlnRton 

Chicago  Clevelind  Buffalo  Minneapolis 

NewYoik       Milwaukee  Plrtibumh        PhiladelphU 

San  FranciKO  IndianapolU 


ROLLER   BEARINGS 

Fig.  82. — Clean,  yet  detailed  outline 
drawing,  skeletonized  to  the  last  degree. 
In  the  complete  advertisement,  it  is  sec- 
ond to  name  plate  and  display  type. 


132  ILLUSTRATION  IN  ADVERTISING 

That  outline  has  its  technical  exactions  any  artist  will  at  once 
admit.  Elimination  and  simplification,  are  difficult  from  the 
studio  standpoint.  It  is  far  easier  to  make  a  drawing  in  full- 
shade  or  emphasized  by  masses  of  black  than  to  leave  out  every- 
thing except  the  bare  essentials.  In  this  simpler  technique, 
every  line  must  count,  and  there  is  a  peculiar  quality  to  the 
lines,  a  flowing,  liquid  freeness  which  few  artists  master. 


HaTe^ 

xpliatbook? 


Fia.  83. — A  very  dominant  illustration,  held  down  in  strength,   by  an  outline 
treatment,  in  order  to  give  display  lines  the  chief  attraction. 


The  methods  by  which  "pure  outline"  illustrations  arc  pre- 
pared are  as  varied  as  they  are  interesting.  Some  artists  believe 
that  it  is  best  to  finish  a  drawing  in  which  there  is  consider- 
able detail,  and  then  with  a  brush  and  white  i)aint,  to  stop  out 
slowly  and  studiously  portions  which  can  be  dispensed  with, 
until  the  skeletonized  version  is  attained.     They  find  they  can- 


OUTLINE  TECHNIQUE 


133 


not  start  out  deliberately  to  draw  in  outline.     It  is  a  handicap, 
of  which  they  are  unduly  conscious. 

One  of  the  most  successful  series  used  in  recent  years  was 
largely  an  accident.  The  drawings  in  line,  intended  for  magazine 
reproduction,  were  later  to  be  used  instead  in  newspapers. 
But  it  was  immediately  recognized  that  there  was  too  much  fine 
shading  for  reproduction  on  newspaper  stock.     The  artist  was 


Fig.  84.- — -Four  interesting  outline  illustrations,  used  in  a  comprehensive 
series,  the  objective  of  which  is  two-fold:  First,  both  in  newspaper  and  maga- 
zine campaigns,  the  novelty  of  the  idea  made  the  series  individual  and  different. 
Secondly,  type  was  never  dominated  by  illustration. 

asked  to  go  over  them  and  to  eliminate  as  much  as  he  could. 
They  came  forth  a  series  of  outline  drawings  of  a  peculiarly 
attractive  and  novel  technique.  Indeed,  after  their  appearance 
in  newspaper  space,  it  was  the  unanimous  verdict  that  the  cam- 
paign for  the  following  year  would  do  well  if  the  same  outline 
plan  were  adopted.     What  impressed  this  advertiser  most  was 


134  ILLUSTRATION  IN  ADVERTISING 

that,  as  used  in  magazines,  the  series  stood  out,  as  contrasted 
with  the  far  more  elaborate  surrounding  advertising  illustrations, 
the  majority  of  which  were  either  from  wash  or  photographic 
originals. 

Another  method  of  production  is  to  first  lay  out  an  unusually 
complete  pencil  sketch,  into  which  much  feeling  and  considerable 
detail  has  been  worked.  Over  this  elaborate  preliminary,  the 
artist  works,  in  outline,  with  a  fine  pen.  But  he  has  a  perfect 
foundation  on  which  to  draw  and  is  therefore  far  surer  of  what 
must  go  in  and  what  can  be  eliminated. 

The  more  pleasing  illustrations  of  this  school  are  made,  incident- 
ally, with  one  pen,  which  makes  an  even,  uniform  line.  The 
moment  too  many  qualities  of  line  appear  the  charm  of  the 
technique  is  decreased. 

When  the  subject  matter  has  its  base  in  a  photograph,  as 
sometimes  happens,  it  is  customary  to  have  a  silver  print  made 
from  the  original  copy,  and  the  artist  works  over  it  with  water- 
proof ink.  Then  the  detail  of  the  foundation  is  bleached  white 
with  chemicals.  Again,  it  is  thought  best,  by  some  artists,  to 
pantograph  from  the  photograph  on  a  clean  white  surface  of 
board  or  paper,  and  prepare  the  skeleton  outline  from  this  guide. 

Experiments,  with  a  prepared  full-shade  pen  illustration,  are 
of  the  greatest  possible  assistance  in  arriving  at  an  acceptable 
technique.  An  advertiser,  having  had  a  complex  pen  drawing 
made,  began  a  system  of  graduating  reproductions  from  the  one 
original,  down  to  the  point,  where,  in  the  last  example,  the  simple 
outline  was  established.  There  were  eight  steps,  ranging  from  a 
plate  made  from  the  first  shaded  drawing  down  through  various 
stages  of  elimination  of  detail. 

These  pen  outline  techniques  are  indispensable  where,  in  a 
single  display,  combination  of  half-tone  and  line  are  necessary. 
Thus,  the  main  illustration  may  be  in  half-tone,  from  a  photograph, 
while  accessory  vignettes,  equally  important,  are  in  line. 

A  sparkling  contrast  is  secured,  doing  justice  to  both.  But 
when  the  pen  design,  in  juxtaposition,  is  heavily  shaded,  one 
detracts  from  the  other. 

If  an  outline  drawing  is  desired,  and  an  entire  campaign  is  to 
be  so  mapped  out,  it  is  no  more  than  good  judgment  to  proceed 
slowly  and  to  have  several  line  engravings  made,  if  necessary, 
printing  i:)roofs  on  the  same  grade  of  paper  stock  as  will  eventu- 
ally receive  the  campaign. 


OUTLINE  TECHNIQUE  135 

Having  made  his  illustration,  the  artist  goes  over  it  a  last  time, 
with  (Chinese  white,  studying  possibilities  of  further  elimination. 
An  engraving  is  made,  the  size  of  the  completed  series,  and  passed 
upon.  It  is  likely  that  still  further  simplification  will  better  the 
entire  illustration.  Faults  which  exist  in  a  drawing  may  not  be 
so  obvious  in  the  larger  original  and  may  only  present  themselves 
in  proof  form. 

As  a  rule,  originals  in  this  technique  should  not  be  made  very 
much  larger  than  their  reproduced  proportions.  Gradations  of 
lines,  and  the  composition  effects  are  deceiving.  Some  of  the 
more  strikingly  attractive  outline  campaigns  have  been  drawn 
actual  size,  which  means  no  disappointment  in  reproduction. 

One  of  the  advantages  of  the  outline  drawing,  of  course,  is 
its  infallible  printability  on  even  the  poorest  newspaper  stock. 
It  is  only  necessary  to  see  that  the  etching  is  deep  and  that  the 
areas  of  white  are  routed  clean.  Otherwise,  there  will  be  blurred 
"shoulders,"  where,  because  of  the  exigencies  of  fast  presses 
and  hasty  make-ready,  the  plate  shows  up  when  not  intended. 


CHAPTER  XVII 
GLORIFYING  THE  HOMELY  PRODUCT 

Of  comparatively  recent  development  is  the  technical  glori- 
fication of  products  which  are  commonplace,  drab,  uninteresting, 
and  even  ugly.  Because  modern  advertising  undertakes  to 
introduce  the  consumer  to  the  mechanics  of  production,  and 
because  it  is  a  common  practice  to  bare  the  hidden  springs  of 
merchandise  in  all  lines,  it  is  obvious  that  something  must  be  done 
to  give  color  and  atmosphere,  to  objects  which,  in  their  own  right, 
could  lay  no  claim  to  popular  interest. 

The  man  who  manufactures  a  lathe,  an  automobile  motor,  or 
a  heating  system,  may  see  some  beauty  in  his  product  but  to  the 
consumer,  these  are  products,  homely,  crude,  and  lacking  in 
imaginative  pictorial  appeal. 

And  there  are  thousands  of  such  products,  born  of  factory  dust, 
steam,  grit,  and  dirt,  and  appealing  only  to  the  creators  of  them. 
Industries,  which,  a  few  years  ago,  thought  only  of  advertising  to 
the  plant  manager,  now  undertake,  wisely  enough,  to  interest  the 
ultimate  consumer.  It  is  a  logical  step,  because  it  is  all  a  process 
of  education.  The  buyer  of  the  automobile  of  today  is  asked  to 
look  deeper  than  body  finish  and  orchid  holders,  and  to  demand 
this  sort  of  motor  and  that  sort  of  spring.  And  the  cumulative 
power  of  the  reaction  is  felt  by  the  manufacturer  of  the 
automobile. 

The  principle  holds  good  in  almost  everything  manufactured. 
Advertising  itself  has  cultivated  an  insatiable  hunger  for  tech- 
nical, mechanical  knowledge.  In  order  to  make  his  campaigns 
appealing  to  the  amateur,  it  has  been  necessary  for  these  adver- 
tisers to  search  for  a  more  attractive  method  of  visualizing  their 
goods,  and  the  surprising  part  of  it  is  that  the  artist  has  solved 
the  problem.  He  has  shown  that  technique,  atmosphere,  and 
artistic  understanding,  can  give  inherent  charm  to  the  ugliest 
object. 

The  working  out  of  the  theory  has  depended  largely  upon  the 
operations  and  initiative  of  a  now  school  of  tal(Mit.  A  mechanical 
device,  in  the  past,  when  pictured  in  advertising,  went  through 

136 


GLORIFYING  THE  HOMELY  PRODUCT 


137 


certain  traditional  phases.  It  was  photographed  under  ordinary 
circumstances,  and  retouched  by  an  expert  whose  catalog  design 
training  had  fitted  him  for  strict  fidelity  in  matters  of  detail 
and  formal,  uninspired  handling.  He  was  not  an  artist;  he  did 
for  his  department  what  any  engineer  would  do  within  his  own 
province.     He  was  painfully  literal  and  that  was  what  people 


Fig.  85. — The  little  Ford  tractor  is  not  in  the  "  beauty"  class,  ])ut  as  presented 
here,  glorified  by  means  of  a  fine  technique  as  to  art,  and  surrounded  by  inspiring 
atmosphere,  it  takes  on  a  new  spirit.  This  was  the  spirit,  indeed,  of  all  Ford 
advertising  art,  once  it  struck  its  stride,  because  the  public  had  grown  to  look  "  too 
far  down"  on  a  low-priced  product.  It  was  the  object  of  the  art  embellishment 
to  change  this  public  idea. 

expected  of  him.  The  difference  between  his  efforts  and  the 
illustration  of  the  modern  school  of  art  is  fully  as  great  as  that 
between  the  portraiture  of  the  photographer  of  yesterday,  and 
the  camera  study  of  today,  which  brings  people  to  life,  by  a 
hundred  ingenious  and  subtle  artifices. 


138 


ILLUSTRATION  IN  ADVERTISING 


Retouching,  as  it  was  known  a  generation  ago,  has  become 
almost  obsolete.  Original  drawings,  or  paintings,  are  made 
which  are  every  bit  as  fine,  as  artistic,  as  the  most  ambitions 
figure  composition.  An  inanimate  object  is  humanized  by 
sundry  tricks  of  light  and  shade,  elimination  and  addition,  com- 
position and  pose,  surrounding  tlccorative  embellishment,  and 


^  \\  'he  last  word  in  plant  and  equipment,  m 
addition  to  the  finest  design  and  highest 
\l  grade  ol  materials,  w-as  necesSSr)'  in  oraer  to 
^c  a  select  levs'  builders  ol  line  motor  cars  an 
electrical  s>"siem  Ixyond  anypre\1ous  slandanL 
ol  excellence-  E\idcnce  ol  the  quality  eHort 
behind  DeJon  is  found  CN'en  in  the  atmosphere 
when.'  DcJon  is  built,  in  the  modernized  lactor>' 
with  its  ivy^  grown  walls  and  park-like  sur- 
roundings- Ample  proof  of  De  Jons  superiontv 
is  foimdin  the  wAy  it  endows  a  hnc  car  with 
an  unprecedented  degree  of  clficicncy. 


Fig.  86. — An  example  of  how  dc  i  (,i:iii\c  borders  and  the  "stage  set"  of  an 
adverti.scmont  may  surround  the  liomt-'ly  pruduct  with  quality  atmosphere.  Any 
picture  of  the  product  itself,  in  this  case,  would  Ik.'  inlu'reiitly  commonplace,  but 
well  groomed  typography  and  highly  artistic  trappings  have  taken  the  place  of 
a  mechanical  drawing. 

simplification.     It  is  less  essential  to  depict  detail  than  to  create 
an  artistic  impression  of  the  thing  in  aggregate  form. 

The  salesmanager  of  a  large  tire  concern  had  ideals  when  it 
came  to  his  advertising  art.  Returning  from  a  trip  abroad, 
during  which  he  had  visited  every  salon  of  any  consequence,  he 


GLORIFY L\a  THE  HOMELY  PRODUCT  139 

called  his  advertising  manager  into  conference  and  wrote  out 
the  following  significant  memorandum: 

We  have  many  competitors.  Tire  campaigns  are  at  every  turn,  and 
it  is  the  accepted  desire  and  very  natural  precedent  to  show  the  product. 
But  I  have  not  yet  observed  an  illustration  of  an  automobile  tire  which 
was  anything  more  than  a  catalog  cut,  a  dull  and  inanimate  representa- 
tion of  something  made  of  rubber. 

Now  I  see  our  tire  in  a  different  light.  It  is  a  bearer  of  burdens. 
There  is  something  at  once  fine  and  human  in  its  physical  appearance. 
I  want  no  retouched  photographs,  no  cold  mechanical  reproductions  of 
"just  an  automobile  tire."  I  am  firmly  convinced  that  we  can  do 
more.  Where  is  the  artist  who  can  paint  a  portrait  of  our  tire?  We 
must  find  him,  and  when  we  do,  we  will  illustrate  our  campaign  far  more 
compellingly  than  our  competitors. 

The  task  was  undertaken  seriously.  The  unique  point  in 
connection  with  it  was  that  a  portrait  painter  was  chosen 
for  the  problem- — an  artist  widely  known,  who  had  painted 
royalty,  society,  and  official  Washington.  But  first,  he  talked 
his  assignment  over  with  the  salesmanager.  He  became  afire 
with  enthusiasm.  Could  he  paint  a  picture  of  an  automobile 
tire  which  would  make  the  tire  seem  {o  live?  No  mere  retouched, 
catalog  illustration.  The  artist  thought  he  could.  A  tire  was 
posed  against  dark  red  velvet  curtains;  spotlights  were  turned 
upon  it,  with  cunning  regard  for  shadows  and  reflections.  There 
were  counter-lights,  from  another  direction,  and,  while  he  worked, 
the  artist  "forgot"  that  his  model  was  not  alive. 

The  knowledge  of  what  could  be  done  if  the  proper  methods 
and  ideals  were  applied,  came  to  manufacturers  of  all  kinds 
of  machinery  when  advertisers  of  automobile  power  plants 
approached  the  consumer  and  interested  him  in  the  most  impor- 
tant part  of  his  car.  The  manufacturer  of  machinery  also  appre- 
ciated that  no  catalog  diagrammatic  illustration  of  motors 
would  appeal  to  the  unmechanical  mind,  so  long  accusomed  to 
allowing  that  which  was  beneath  the  hood  to  remain  a  mystery. 

Several  remedies  were  immediately  applied.  They  were  all 
allied  with  the  one  common  need,  however,  that  of  looking 
upon  a  mechanism  as  something  more  than  an  inanimate  thing. 
Once  this  changed  angle  was  established,  the  illustrations  began 
to  assume  new  interest.  Principally,  it  is  a  matter  of  lighting, 
for  light  is  an  animating  influence,  of  course.  One  institution 
resorted  to  photography  and  the  man  who  made  the  camera 


140 


ILLCSTRATIOX  IN  ADVERTISIXG 


studies  was  not  a  commercial  photographer  at  all;  his  specializa- 
tion was  portraits  of  people.  But  he  put  into  his  negatives 
feeling,  sympathy,  art,  and  keen  knowledge  of  lighting  effects 
and  their  influence  on  vision. 

By  placing  the  motor  against  a  piece  of  skilfully  draped 
plush  and  by  playing  batteries  of  special  lights  on  it,  from 
one  side  only,  the  mechanism  was  at  once  given  charm,  sup- 
posedly remote  from  a  subject  of  this  character.  Parts  were  in 
shadow,  parts  mistily  shown,  parts  touched  with  stray  shafts 


FiQ.  87. 

Left. — This  strikingly  successful  photographic  illustration  proves  most  conclu- 
sively that  machinery  can  be  handled  in  an  artistic  manner.  By  dexterous 
lighting,  an  art  background  and  appropriate  settings,  the  automobile  i)o\ver 
plant  becomes  indeed  a  pleasing  picture. 

Right. — Ordinarily,  the  picture  of  a  tire  is  inanimate  and  rather  conimonplaco. 
This  handling  is  an  indication  of  what  can  be  done  when  a  "portrait"  is  made  of 
the  product.     It  is  a  blend  of  photograph  and  highly  artistic  art  accessories. 


of  light,  as  scintillant  as  gems.  There  is,  indeed,  a  vast  diffcroncc 
between  an  unstudied,  crudely  posed  object,  retouched  to  bring 
out  100  per  cent  detail,  and  the  inanimate  subject  which  comes 
under  the  hand  of  a  true  artist,  who  sees  beyond  the  metal  and 
the  mechanism  to  a  story  of  service  performed. 

One  of  the  most  notable  examples  within  knowledge  of  glorify- 
ing the  inanimate  or  the  inherently  homely  is  that  of  the  recent 


GLORIFYING  THE  HOMELY  PRODUCT 


141 


Fig.  88.— Examples  of  a  notable  serie.s,  in  which,  by  the  use  of  color  and 
luxuriant  accessories,  a  homely  product  is  given  "class  atmosphere.' 


142  ILLUSTRATIUX  IX  ADVERTISING 

remarkable  series  of  paintings,  in  full  color,  prepared  for  The 
American  Radiator  Company. 

A  heat  plant,  Cinderella-like,  hidden  away  in  the  cellar,  can 
in  no  wise  be  looked  upon  as  an  inspiring  theme  for  an  artist  of 
true  sensibilities.  The  Grand  Dame  and  the  pampered  pet  is 
the  piano,  the  handsome  set  of  furniture,  the  oriental  rug,  the 
bit  of  tapestry,  but  how  can  the  furnace,  covered  with  the  dust 
and  grime  of  a  darkened  place,  be  pictured? 

This  advertiser  could  not  be  reconciled  to  its  lasting  pictorial 
exile,  such  as  it  had  been  relegated  to  for  so  many  years.  Somehow, 
somewhere,  a  better  idea  could  be  found — must  be  found.  And  it 
was  possible  as  several  accompanying  illustrations  will  testify. 

There  is  a  vigorous  object  lesson  in  the  plan,  because  it  is  one 
which  may  be  applied  to  any  subject.  The  campaign  began 
with  the  wholly  relevant  and  sound  assumption  that  a  heating 
plant  is  as  significant  in  the  conduct  of  a  home  as  pianos,  costly 
rugs,  furniture,  tapestries.  Moreover,  it  was  interlocked  in 
nuich  the  same  manner  with  the  happiness  of  the  home  owner. 
The  homely  product  first  received  a  baptism  of  prestige  and 
homage  from  its  own  manufacturers.  They  saw  it  not  as  some- 
thing ugly  but  as  something  most  attractive,  an  obligation  ful- 
filled, a  duty  faithfully  performed. 

Observe  these  scenarios  for  illustrations:  "What!  guests  in 
the  cellar!  Yes,  indeed.  Invite  them  down.  No  reason  why 
they  should  not  see  the  cellar  if  there  is  an  Ideal  Heat  Machine 
installed."  The  illustration  shows  a  party  at  a  handsome  resi- 
dence. The  host  has  invited  his  guests  to  see  the  heating  plant 
of  which  he  is  justly  proud.  The  red  glow  from  the  open  door 
of  the  furnace  lights  them  charmingly.  It  is  a  beautiful  picture. 
And  color  has,  of  course,  added  materially  to  it.  The  artist  has 
not  attempted  to  make  a  technically  and  mechanically  detailed 
picture  of  the  furnace;  he  has  been  content  to  suggest  it  and  to 
allow  it  to  fit  snugly  and  neatly  into  the  composition,  where  in 
reality  it  plays  a  leading  part. 

Another  scenario  runs  on  this  wise:  "A  last  look  at  a  well- 
dressed  friend.  That  last  trip  down  cellar — before  you  go  out 
for  the  evening." 

A  man,  in  evening  clothes,  has  just  looked  in  to  see  how  the 
fire  is  burning  and  is  on  the  point  of  closing  the  door  again. 
The  yellow  and  gold  and  red  reflections,  dance  on  his  face  and 
on  his  entire  figure.     Because  of  a  pride  in  the  most  modern  heat 


GLORIFYING  THE  HOMELY  PRODUCT 


143 


plant,  the  cellar  has  been  improved.  There  is  an  ornate  door 
into  the  heater  room,  red  tile  floor,  sundry  refinements  every- 
where in  evidence.     Painted  in  color,  it  is  at  once  an  effective 


The  man  who  heats  his  home 
with  a  Capitol  Boiler  and  United 
States  Radiators  knows  the  deep 
and  lasting  satisfaction  of  pride 
of  ownership. 


C<mto)te 


He  knows  that  his  heating 
system  is  a  preferred  quality 
product  which  will  justify  every 
penny  of  the  investment  through 
years  of  dependable  service. 


LsSTtED  jStATES  liADIATOR  ^RPOR^VTIOS 

(Jciu-ral  Offuos.  Delroll. Michigan 

I  -Hill.......  Brunch  u.i J  S..lt.  <W«"-»  .11.U.,.  -s 

*«'■  -ru'.Vl'iS''  •liJllSi'"'"  •i'".''"'"?il?''     ~  ^"1 


I'lG.  89. — By  handling  the  product  in  an  artistic  manner  and  placing  a  figure 
shrewdly  admiring  it,  the  homely  Boiler  is  given  sentimental  value. 


canvas,  the  work  of  Dean  Cornwell,  an  American  illustrator 
of  note. 


144 


ILLUSTRATION  IN  ADVERTISING 


IVew  wheels^  IVO/i 


VACUUM  CUP 

BALLOON  TIRES 
fit  your  rcaular  rims 


QnU 
owners 


PACKARD 


CADI      L     L    A     C 


Fia.  90. —  Methods  of  artistic  retouching  and  of  composition  have  made  it 
possible  for  the  advertiser  of  mechanical  subjects  to  show  his  products 
uncommercially. 


GLORIFYING  THE  HOMELY  PRODUCT  145 

A  talented  artist  can  make  anything  Ijeautiful.  What  might 
have  been  merely  a  picture  of  a  homely  furnace  in  a  dark  and 
gloomy  cellar  has  become  a  theme  of  almost  atmospheric  delight. 
It's  all  in  the  desire,  the  sympathetic  hand,  the  technique, 
the  idea. 

In  much  the  same  manner,  manufacturers  of  bathroom  fix- 
tures have  idealized  their  subject,  although  not  long  since  no 
advertiser  of  the  product  believed  that  there  was  artistic  material 
here.  Accessories,  handling,  color,  and  skilful  plots  around 
which  picture  stories  could  be  woven  have  been  leading  influ- 
ences for  improvement.  Glorifying  the  homely  product  may 
lead  to  any  number  of  possible  channels,  mediums,  or  basic 
plans. 

The  objective  may  be  arrived  at  by  any  one  or  all  of  the  follow- 
ing methods,  each  one  of  which  has  been  tested  and  found  thor- 
oughly efficient : 

1.  Artistry  of  technique:  refinements  in  the  interpretation, 
individuality  of  the  artist's  own  mood,  style,  manner. 

2.  Unique  and  effective  lighting  effects  with  resultant  shadows, 
contrasts,  monotones,  sparkling  reliefs. 

3.  Basic  idea:  surrounding  the  product  with  animation  and 
action  which,  of  itself,  suggests  quality.  The  American  Radiator 
method  is  characteristic  of  this. 

4.  Class  atmosphere,  as  expressed  in  the  garnishments.  The 
homely  product  surrounded  by  beautiful  and  artistic  accessories. 

5.  Atmosphere  of  an  exclusive  and  refined  type,  supplied  by 
an  association  of  ideas.  Thus,  a  kitchen  cabinet  placed  near  a 
window  around  which  flowering  plants  are  shown  and  a  vista 
of  a  well-groomed  garden. 

6.  Decorative  embellishments.  Handsome,  highly  ornate 
border   effects,    superb   compositions,    and   classic   typography. 

7.  Beauty  and  manner  of  general  layout.  Sometimes  an 
arrangement  of  simple  border  of  lines,  trim  type  faces,  and 
hand-drawn   headlines,   will   supply   the   essential   atmosphere. 

These  represent  some  inter-related  schemes  which  are  effec- 
tive. No  product,  however  "ugly,"  commonplace,  or  unin- 
interesting,  need  carry  these  handicaps  into  its  advertising. 


CHAPTER  XVTTT 
ATMOSPHERIC   BACKGROUNDS 

To  say  that  advertising  illustrations  should  be  reduced  to 
the  lowest  terms  of  detail  is  to  restrict  the  objective  they  are 
planned  to  attain.  There  cannot  and  should  not  be  fixed  laws 
governing  the  subject  matter  of  advertising  art;  every  problem 
is  unique.  It  is  for  the  advertiser  to  decide  just  how  simple  or 
how  complex  a  picture  should  be.  The  telling  of  a  story,  the 
visualization  of  a  service,  the  creating  of  desired  atmosphere, 
or  the  staging  of  a  spirited  drama  are  all  governing  influences. 

Those  who  prefer  simple  compositions,  one-figure  ideas  and 
illustrations  uncluttered  by  accessories,  have  reasons  for  just 
this  type  of  pictorial  treatment.  But  the  illustration  which 
features  a  background  as  the  helpmate  of  prior  interests  has  a 
sure  and  a  legitimate  place  in  the  general  scheme  of  things. 

There  is,  however,  an  important  difference  in  the  values  of 
such  backgrounds.  Long  since,  indifferent  handling  has  ceased 
to  lend  any  aid  to  a  composition.  The  ideal  background  not 
only  assists  in  telling  the  story  and  in  establishing  a  definite 
atmosphere  but  it  is  also  so  surely  welded  into  the  whole  that 
foreground  and  background  arc  virtually  one. 

No  background  should  seem  to  be  placed  there  palpably  to 
fill  in.     If  it  does  not  serve  a  purpose  it  is  better  eliminated. 

"News"  backgrounds  are  of  paramount  pul)li(' value.  As  an 
instance  of  this,  advertisers  will  do  well  to  watch  with  a  sharp 
eye  the  comings  and  the  goings  of  public  interests.  Radio  has 
swept  the  country.  Ten  years  ago,  the  background  atmosphere 
might  have  included  airplanes  or  automobiles;  today,  it  would 
be  radio.  The  advertiser  of  a  cereal  wishes  to  picture  a  child 
having  its  supper.  In  the  modern  version  of  such  a  comjiosi- 
tion,  the  receiving  set  and  the  loud  speaker  nearby  could  link  the 
child's  bed-time  story  with  his  evening  meal.  There  are  as 
surely  fashions  in  l^ackgrouiids  as  there  are  fashions  in  clothes, 
in  architecture,  or  in  the  furnishing  of  homes. 

146 


ATMOSPHERIC  BACKGROUNDS  147 

Backgrounds  may  be  passive  or  active.  The  active  back- 
ground is  conceded  to  be  the  best  up  to  the  point  where  it  does 
not  detract  from  some  more  important  performance  in  the 
foreground.  There  should  of  course  be  a  sympathetic  tie-up 
between  these  two  picture  planes. 

After  a  study  of  automobile  advertising  in  general,  a  manu- 
facturer decided  that  backgrounds  for  campaign  illustrations 


Fig.  91. — To  suggest  various  qualities  of  the  tire,  by  illustrative  comparisons 
and  parallels,  the  advertiser  has  a  number  of  specialists  paint  backgrounds  of  a 
scenic  character  which  would  accomplish  the  objective. 

had  been  worn  threadbare.  They  were  all  very  much  the  same 
and,  for  the  most  part,  non-committal  and  passive.  A  car  before 
a  handsome  residence  along  a  country  road,  near  a  club  house, 
or  in  a  park  were  in  the  undramatic  class.  They  were  as  custom- 
ary as  they  were  dull.  Because  the  automobile  carries  people 
everywhere  and  on  the  most  diversified  missions,  why  not  illus- 
trate that  which  was  capable  of  a  plot,  a  story,  a  romantic  or  an 
unusual  interpretation? 


148 


ILLUSTRATION  IN  ADVERTISING 


The  inspiration  for  the  series  came  from  letters  in  the  company 
files  and  it  soon  developed  that  the  user  himself  could  give  the 
artist  an  idea  for  a  background.  A  Pittsburgh  owner  used  his 
car  to  drive  out  to  immense  steel  manufacturing  plants.  To 
picture  the  car  drawn  up  near  such  a  giant  enterprise  and 
to  visualize  its  owner  seated  comfortably  beside  a  guest 
both  interestedly  talking  of  the  mighty  plant  dramatizes  the 
back-ground. 

In  another  composition,  a  car  was  shown  standing  on  the  dock 
of  a  quaintly  picturesque  dock  along  the  Mississippi,  just  at  the 


Fig.  92. — \i\  unconventional  background  introduced  without  affectation. 


moment  when  an  old-fashioned  Memphis  sidc-wheclcr  had  dis- 
charged its  cargo  and  passengers.  Two  arrivals  by  this  boat, 
a  young  man  and  a  young  woman,  were  hiu-rying  to  the  auto- 
mobile. The  activity  of  such  an  hour  was  skillfull}'  visualized. 
The  negroes  wheeling  cotton  bales  and  the  many  types  of  river 
travelers  hiu-rying  on  their  way.  The  backdrop  was  the  old 
boat,  its  fluted  funnels  spouting  black  smoke. 

It  is  generally  the  tendency  to  select  far  too  obvious  l)ack- 
ground  ideas  or  themes  which  are  not  in  any  way  related  to  the 
product  featured.  The  steamer  illustration  is  here  described 
because  it  suggests  a  new  background  investure  and  because  it 
is  intimately  linked  with  the  product. 


A  TMOSPIIERIC  BA  CKGRO  UNDS 


149 


With  a  world  of  episode  to  select  from,  there  is  really  no  excuse 
for  non-committal  or  passive  backgrounds.  An  advertiser  of 
luggage,  dress  suit  cases,  and  traveling  bags  had  been  accus- 
tomed to  rather  conventional  scenes  of  men,  indoors,  packing 
such  luggage,  opening  bags,  walking  as  if  to  catch  trains,  etc. 
It  had  not  occurred  to  him  that  his  background  could  be  invalu- 
able as  an  added  feature  of  every  display. 

The  drama  of  the  last-minute  at  the  train  gate,  the  jaunty 
walk  up  the  gangplank,  and  a  hand  wave  back  to  friends  on  the 


Fig. 


93. — A  pictorial  "back  drop  "  thoroughly  alive  with  action  and 
industrial  modernism. 


dock,  or  similar  incidents,  entirely  relevant  and  always  with 
the  spirit  of  "something  happening"  adds  thrill  and  suspense. 
If  there  is  to  be  a  background  at  all,  why  not  put  it  to  work  in 
the  product's  behalf?  Why  not,  in  fact,  cause  it  to  assist  the 
chief  features  of  an  illustration,  emphasizing  them  and  bringing 
them  into  still  greater  prominence? 

For  many  years,  the  advertising  of  a  certain  kitchen  cabinet 
clung  to  traditions,  as  far  as  background  accessories  were  con- 
cerned, which  offered  little  or  no  opportunity  for  atmospheric 
change.  The  cabinet,  a  kitchen  panorama,  and  the  figures  of 
housewife,  children,  or  father  were  monotonous  illustrations. 
It  was  an  interested  woman  reader  who  inspired  the  advertiser 
with  the  thought  that  a  home  need  not  be  eternally  humdrum. 


150 


ILLUSTRATION  IN  ADVERTISING 


The  advertisement  was  changed.  Through  an  open  door  could 
be  seen  the  grocer's  boy,  berries  and  fruits  for  the  canning  and 
preserving  season.  And  the  cabinet  would  soon  be  put  to  useful 
work.  His  smiling  face  beamed  as  he  stood  in  the  sunlight. 
In  the  background  could  be  glimpsed  the  garden. 

Another  advertisement  pictured  a  mother  peering  into  the 
yard  where  children  could  be  observed  hurrying  from  school. 
In  full  view  near  her  is  the  cabinet  on  which  is  piled  a  between- 
meals  luncheon. 


Fig.  94. — "News  value"  to  this  thoroughly  modern  scenic  invcsture. 

For  every  product,  however  homely,  there  is  a  better  type  of 
background.  It  should  be  sought  if  the  illustration  is  to  be 
dramatic,  effective,  and  generally  interesting  to  the  greatest 
number  of  persons.  Any  background  which  fails  to  work  in 
harmony  with  the  body  of  the  illustration,  is  virtually  wasted. 
It  is  taking  up  valuable  space  which  must  be  paid  for  and, 
when  not  helping  to  deliver  a  message,  is  clogging  its  action. 

Of  equal  importance  in  the  background  for  the  inanimate  or 
still-life  object.  What  this  prosaic  rendering  of  a  lifeless  ol)ject 
lacks  in  reader  interest,  visually,  can  be  made  up  by  the  anima- 
tion of  the  background.  The  very  large  showing  of  a  child's 
play  shoe  is  dominantly  strong  and  in  detail  because  the  adver- 
tiser wishes  to  show  the  article  and  to  illustrate  it  in  such  a 
manner  as  to  elaborate  the  features  of  workmanship.  If  shown 
on  the  foot  of  a  child,  the  product  would  be  too  small. 


ATMOSPHERIC  BACKGROUNDS  151 

This  docs  not  mean  that  an  advertisement  need  take  on  a 
dull  appearance,  pictorially,  which  it  surely  would  were  nothing 
but  the  shoe  presented.  The  copy  writer's  imagination  has  sup- 
plied the  necessary  background  theme,  when  he  relates: 

Hoiv  the  hoys  in  a  small  New  England  village  help  make  Keds  the 
longest-icearing  sports  shoes  in  the  world.  They're  much  like  other 
boys.  They  race  and  tear  through  village  streets,  play  baseball, 
climb  fences  and  trees  and  are  in  general  "hard  on  their  shoes." 
The  shoes  they  wear  look  much  like  the  shoes  other  boys  are  wearing 
too.  There's  a  difference,  however.  They  wear  Keds  on  one  foot 
only.  On  the  other  they  wear  shoes  that  are  not  Keds.  At  the  end 
of  several  months'  time  boys  report  to  the  big  Ked  factory  at  one 
end  of  town.  Here,  in  the  testing  laboratories,  the  wear  of  both 
shoes  is  carefully  checked  and  compared. 

A  novel  copy  idea,  and  one  which  supplies  sufficient  drama  for 
the  modern  type  of  background.  In  a  pen  technique  which 
might  well  do  credit  to  a  book  or  to  a  magazine  story,  the 
artist  portrayed  the  quaint  New  England  street  with  its  rollick- 
ing boys  and  girls  playing  baseball.  There  are  giant  elms  shad- 
ing lawns  and  dim  vistas  of  homes  with  high  white  columns.  It 
is  atmosphere  of  the  most  inviting  type,  plus  an  irresistably 
sensible  tie-up  with  the  product  which,  after  all,  is  the  com- 
manding color  note  of  the  composition.  It  is  a  charming  foot- 
note, a  gauzy  curtain  let  down  behind  the  detailed  drawing  of  a 
prosaic  shoe. 

Naturally,  the  still-life  study  stands  in  greater  need  of  relief 
than  the  illustration  which  is  a  composite  of  action,  human 
figures,  and  story  value.  The  package  of  tea  with  no  back- 
ground is  weak,  by  comparison  with  the  composite  illustration 
which  shows  the  same  package,  set  off  by  a  panorama  of  tea 
plantation  atmosphere. 

Backgrounds  are  sometimes  thought  to  complicate  the  picture 
which  is  true  when  a  counter  feature  detracts  from  the  main 
issue.  No  such  fault  can  be  found  with  composition  which 
observes  the  two  major  rules  here  set  down. 

The  background  should  invariably  be  inseparable  from  the 
main  detail  in  its  action  and  story. 

The  background  should  be  original,  unconventional,  where 
possible,  that  is,  to  the  extent  of  discovering  themes  which  have 
not  been  used,  over  and  over  again.     A  background  containing 


152  ILLUSTRATION  IN  ADVERTISING 

elements  of  news  value  and  of  ultra-timeliness  is  assured  of  a 
more  receptive  audience.  Backgrounds  can,  as  a  rule,  be  largely 
"news."  But  it  should  always  be  kept  in  mind  that  the  time 
schedule  of  the  campaign  must  be  watched  and  that  the  seasonal 
characteristics  of  a  background  should  conform  with  the  period 
of  its  running. 


.    CHAPTER   XIX 
VIGNETTES 

Opposed  to  the  all-enclosed  illustration,  which  is  arbitrarily 
confined  by  some  set  form  or  shape,  is  the  vignetted  picture, 
adapting  itself  to  its  subject  material,  to  the  space  it  occupies 
and  to  the  accompanying  typographical  setup.  In  the  old  days 
of  the  half-tone,  it  was  the  custom  to  define  sharply  an  illustra- 
tion.    Engravers  had  not  mastered  the  vignette. 

To  vignette  means  to  shade  off  gradually  and  to  soften  off 
the  boundaries  of  a  design  which  might  otherwise  hold  to  very 
definite  lines.  The  benefits  to  the  advertiser  are  numerous. 
The  vignette  has  provided  for  a  greater  variety  of  compositions 
and  of  typographical  effects.  An  illustration  may  be  neatly 
fitted  into  the  scheme  of  the  type.  Unimportant  parts  may  be 
subdued.  Concentration  on  others  may  be  secured.  An  illus- 
tration may  be  made  to  seem  larger  than  it  actually  is.  And 
not  least  of  all  the  sympathetic  relation  of  picture  to  the  theme  of 
the  advertisement  may  be  sustained  in  a  more  professional 
manner — an  achievement  which  was  by  no  means  easy  when  all 
illustrations  were  either  squared  or  mortised  into  circles  and 
into  ovals. 

The  preparation  of  the  original  must  be  considered,  in  the  case 
of  the  vignetted  picture.  This  is  a  problem  which  can  not  be 
left  to  the  engraver.  For  the  important  and  more  interesting 
compositions  are  those  which  have  been  deliberately  constructed, 
in  advance.  The  visualizer  and  the  layout  man  consider  both 
typography   and   illustrative  features  as  an  indivisible  whole. 

Vignetted   illustrations   are   used  for  the   following  reasons: 

To  provide  layout  individuality. 

To  minimize  the  importance  in  the  composition  of  non-essen- 
tials. 

To  provide  for  unique  typographical  effects. 

To  get  away  from  the  traditional  sameness  of  arbitrary  shapes. 

To  distribute  the  illustrative  part  of  the  display  more  evenly 
over  the  space. 

153 


154  ILLUSTRATION  IN  ADVERTISING 

To  assist  in  arriving  at  a  cumulative  effect,  which,  in  time, 
may  become  ahnost  a  trade  mark  virtue. 

To  bring  out  special  elements  in  an  illustration. 

It  is  best,  in  any  description  of  the  fundamentals  of  vignet- 
ting, to  study  and  to  analyze  specific  cases.  Campaigns  which 
have  successfully  handled  this  problem  are -therefore  herein  con- 
sidered, with  reduced  illustrations  of  the  more  striking  instances. 

Hoover  Vacuum  Cleaner. — It  was  the  desire  of  the  advertiser 
to  call  specific  attention  to  the  rug,  which,  in  this  case,  was  being 
cleaned  by  the  device.  It  was  just  as  important,  however,  to 
introduce  accessories  of  background  detail  so  that  the  picture, 
which  has  no  figures,  might  hold  attention.  The  atmosphere 
must  suggest  that  the  purchaser  of  the  vacuum  chvmcr  is  a 
discriminating  person  with  a  home  of  the  best  api)ointnients. 

Squared  off,  the  illustration  could  not  have  achieved  these 
points,  and  it  would  have  been  smaller  in  size.  Note  that  now 
the  rug  is  entirely  dominant  in  its  relation  to  the  cleaner. 

As  it  is,  in  vignetted  form,  the  background  fades  away  and 
is  finally  lost.  Yet  there  is  always  sufficient  to  suggest  a  dis- 
tinctive atmosphere.  Also,  the  typography  is  given  a  natiu'al 
frame,  and  is  embedded  in  the  illustration,  an  element  to  be 
desired  because  attention  is  concentrated  at  this  point,  and 
picture  and  text  work  in  sympathy. 

It  is  also  to  be  noted,  from  a  mechanical  viewpoint,  that 
difficult  vignettes,  which  require  expert  engraving  tactics  and 
equally  difficult  printing  requirements,  are  minimized.  The 
soft  half-tone  vignette,  which  fades  away,  is  always  precarious 
even  in  this  age  of  expert  plate-making  and  printing.  Such 
vignettes  may  at  any  time  develop  a  ragged  edge. 

In  the  case  of  the  Hoover  illustration,  vignetting  is  accom- 
plished not  so  much  in  the  accepted  sense  of  softened  edges  as 
of  clean  cut  demarcations  where  the  design  stops.  This  permits 
the  engraver  to  cut  away  the  half-lone*  with  no  delicate  phantom 
effects.  The  rug  is  almost  in  silhouette;  the  stair  carpet,  the 
railing,  the  doorway,  the  chair,  and  the  walls  are  sharply  defined, 
although,  in  the  aggregate,  they  constitute  a  vignette. 

Daniel  Green  Comfy  Slippers. — Vignetting  is  used  in  order 
to  give  prominence  to  the  product  advertised.  To  cut  off  the 
figure  abruptly  would  mean  a  distracting  jiicture,  with  the  eye 
ever  seeking  and  expecting  the  remainder  of  the  person  pictured. 
The  vignette  softens  these  effects.     Here  the  engraver's  skill 


VIGNETTES 


155 


is  more  apparent.  Delicate  lines  are  sketchily  retained  and 
white  is  introduced  to  accomplish  the  most  satisfactory  and 
artistic  results.  The  vignette  concentrates  attention  on  the 
slippers  and  on  the  action  of  such  parts  of  the  figure  as  are  shown. 
With  its  innumerable  shadowy  lines  this  plate  is  difficult  to 
engrave.  The  illustration  is  drawn  exactly  as  it  appears  in  the 
finished  plate,  although  it  is  invariably  wise  to  designate  on  a 
tissue  overlay  exactly  where  to  vignette  and  where  to  "cut 
out"  whites  on  the  half-tone  plate. 


^y  jVotc  of  (,7/an// 

You  Ala y  Hcrcc  (hcrlookcd 


\  Daniel  Green 

;  Camfy 

Slippers 


"% 


Fig.  95. 


Cadillac  Motor  Cars.- — Every  line  and  tone  and  "sense  of 
direction"  is  dedicated  to  concentrating  vision  on  the  car.  The 
squared-off  half-tone,  occupying  the  entire  top  of  the  space, 
would  be  far  less  effective.  Here,  in  its  most  modern  version,  is 
the  smartly  up-to-date  vignette  avoiding  all  of  the  mechanical 
pitfalls  and  printing  dangers  of  the  old  regime.  The  so-called 
soft  and  graduating  vignettes  have  been  practically  done  away 
with.  To  take  their  place  are  crisp  cutaways,  made  possible 
by  the  painting  itself.  Wherever  possible,  the  vignetting  runs 
to  well  defined  lines  and  picture  demarcations.  This,  of  course, 
the  artist  has  carefully  planned  in  advance.  His  original  shows 
exactly  what  registers  in  the  finished  plate. 


156 


ILLUSTRATION  IN  ADVERTISING 


By  the  elimination  of  half-tone  screen  in  the  background, 
above  and  around  the  car,  the  car  is  pushed  into  the  vision  and 
dominates  the  entire  design.     But  there  is  more  in  this  vignette 


LAC 


^f^ZZ 


T!u-  owner  of  the  V(,%  Five  P.i*<n- 
j!i'r  Sedan  travels  in  an  atniix^r'"'''e 
of  richness  aiiJ  refinement.  . 

Its  beautiful  Cidillac-bisher  Hody. 
appointed  with  the  care  used  in 
dcci  )riiting  ;t  n  exc]Ui^ite  Jra  wtn^  room, 
alinrdi  every  (.iciliiy  for  the  convcn- 
inicc  and  comfort  of  its  piassenger*. 

But  the  dominant  appeal  of  the 
Setlan,  as  of  all  V-ftj  model's,  w  its 
extraordinary  pcrtorniance. 

Its  hartnonUed  and  balanced  V-Type 
eight  cylinder  engine  -  CadilUc'n 
greatest  contribution  to  automotive 

CADILLAC     MOTOR     CAR     COMPANY,     DETROIT,     MICHIOAN 


proores*  in  recent  year*  lunctions 
Willi  a  jmoothnes.-*  and  quietnctts 
row  1(1  motoring 

To  the  speed  and  power  of  this  eni;inc 
is  added  the  siilcty  of  Cladillac  Pour 
Wheel  Brakes  and  these  qualities, 
combined  with  instant  acceleration 
and  exceptional  ease  of  control,  in- 
spire the  one  who  drives  with  a 
sense  of  complete  rMd-master>'. 

Cadillac  invites  you  to  approach  the 
V'6j  Sedan  with  great  expect.ations, 
and  is  confident  that  a  single  ride  will 
convince  you  of  its  surp;issing  quality. 


Corfor. 


w 


Fit!.  9G. 


than  might  at  first  appear.  There  is  to  be  taken  into  considera- 
tion artistry,  composition,  and  skill  in  adjustment  to  type  and  to 
superimposed  headline. 


VIGNETTES 


157 


It  would  not  have  accomplished  anything  if  the  half-tone 
detail  of  the  masonry  around  the  doorway  had  been  permitted  to 
remain  in  the  illustration.  Its  only  effect  would  have  been  to 
congest  the  layout  and  to  detract  from  the  automobile.  Artists, 
who  are  the  best  judges  of  vignetting,  will  encourage  the  sug- 
gestion that  they  be  permitted  to  make  a  diagrammatic  set  of 
instructions  to  the  engraver,  in  case  the  original  illustration  itself 
fails  to  suggest  all  that  should  and  can  be  done  by  the  engraver. 

The  Cadillac  illustration  is  an  instance  of  how  a  vignette  may 
in  every  way  avoid  the  graduating  tint,   while  suggesting  it. 


CLDsen  Car  HaMFORT 


New  BeaLiTv 


Fig.  97. 


Where  a  shrub  in  a  vase  or  the  outline  of  a  doorway  appears,  the 
vignette  becomes  a  matter  of  tooling  up  to  well-defined  tones 
and  lines.  In  the  aggregate,  however,  the  appearance  is  that  of  a 
soft  vignette.  The  white  space  which  always  follows  as  a  natural 
consequence  of  a  vignette  of  this  type,  is,  of  course,  an  asset. 

Dodge  Cars. — Vignetting  was  made  a  constructive  feature  of 
a  series  which  ran  for  more  than  a  year.  Illustration  and  text 
became  a  mosaic  of  composition.  Subjects  which  might  otherwise 
have  been  much  smaller,  if  confined  to  a  square  space,  were  made 
to  seem  larger. 

In  this  campaign,  however,  there  is  a  return  to  the  old  style 
of  vignette,  that  is,  there  are  areas  where  the  half-tone  screen  is 


158  ILLUSTRATION  IX  ADVERTISING 

made  to  fade  off  into  white  paper.  Such  plates  require  special 
make-ready  and  alert  attention  on  the  part  of  the  printer. 
Mechanically,  the  vignette  offers  problems  to  any  engraver. 
And  these  difficulties  are  magnified  when  the  printing  is 
done.  Some  vignettes  are  accomplished  by  tooling  work  while 
others  demand  the  fadeaway  process  described. 

The  vignette  makes  it  possible  to  show  only  a  part  of  an 
object,  while  suggesting  all  of  it.  If  the  cutoff  were  sharp,  no 
such  pleasing  and  imaginative  suggestion  could  be  supplied  in  an 
illustration.  A  border  line  virtually  calls  a  halt  on  imagination. 
The  vignette,  however,  seems  to  say: 

"There  is  more  beyond;  you  may  supply  what  is  missing." 


CHAPTER  XX 
BRINGING  TRADE  MARKS  TO  LIFE 

Any  discussion  of  trade  marks,  advertising  characters,  sym- 
bols, monograms,  and  other  set  devices  has  no  place  in  this  book, 
but  where  such  devices  become  the  pictorial  theme  of  an  adver- 
tising campaign,  the  subject  is  valid  and  worthy  of  analysis. 
It  is  by  no  means  an  uncommon  practice  for  advertisers  to  make 
a  trade  mark,  whatever  its  specific  technical  designation,  the 
dominant  illustrative  theme  of  an  entire  series. 

During  the  past  few  years,  a  remarkable  change  has  taken  place 
in  the  attitude  of  the  advertiser  regarding  his  trade  mark,  whether 
it  be  a  character  or  a  lettered  device.  He  is  no  longer  content 
with  allowing  it  to  remain  set.  The  flexible  trade  mark  is  the 
more  modern  plan.  Where  once  it  was  considered  a  violation  of 
every  sensible  law  of  advertising  to  tamper  with  these  insignias 
and  characters,  to  put  them  in  motion,  or  to  give  them  new 
aspects,  it  is  now  the  custom  to  recreate  public  interest  by  any 
number  of  worthwhile  deviations  from  the  original  rule. 

The  modern  trade  mark  is  the  one  which  bids  for  constantly 
recurrent  public  interest.  People  may  tire  of  it  or  they  may 
take  it  too  much  for  granted.  Yet  it  remains  the  calling  card  of 
the  company  and  of  the  product.  If  an  advertiser  places  a 
trade  mark  or  a  character  which  is  always  the  same  in  every  piece 
of  advertising,  it  is  only  natural  that  popular  interest  should 
begin  to  wane. 

One  of  the  most  experienced  advertisers  has  said  of  his  trade 
mark: 

I  am  not  so  sure  that  the  public  is  as  interested  in  my  trade  mark  as  I 
am,  for  I  originated  it  and  sponsored  it  from  the  beginning.  Therefore, 
it  is  my  custom,  every  so  often,  to  make  it  the  feature  of  my  advertising. 
There  is  a  popular  re-christening.  I  bring  it  out  in  new  frills  and  fur- 
belows for  the  new  generation  and  for  the  edification  of  the  old  timers, 
who  may  be  taking  too  much  for  granted. 

I  have  grown  lenient  as  regards  my  trade  mark;  I  am  willing  to  change 
it  about,  to  give  it  new  perspective  and  new  viewpoints,  and  to  enliven  it. 

159 


160  ILLUSTRATION  IK  ADVERTISIXG 

If  a  man  stood  on  the  public  square,  motionless,  ahvaj's  the  same  as  to 
pose,  I  fear  people  would  soon  grow  to  pass  him  by.  I  do  not  want  to 
make  a  sort  of  monument  of  my  trade  mark.  1  do  not  insist  that  it  be 
fixed  as  to  its  showing.     I  vastly  prefer  to  bring  it  to  life. 

The  advertiser  does  not  always  know  how  he  can  bring  an 
inanimate  trade  mark  to  life.  The  symbol  which  has  been 
created  and  which  may  have  become  sacred  in  a  sense,  through 
long  use  does  not  appear  to  lend  itself  to  vaudeville.  It  has 
always  been  shown  in  a  set  form,  and  unvaried.  It  has  been 
stamped  on  the  goods  in  this  original  style.  Will  the  public 
recognize  it,  if  it  appears  in  new  accoutrements,  with  fresh 
atmosphere,  and  from  unaccustomed  angles? 

The  answer  is  to  be  found  in  the  far  more  modern  handling  of 
trade  marks.  The  spirit,  the  form,  and  the  physical  attributes  of 
a  trade  mark  may  be  preserved,  while  its  presentation  changes 
materially.  To  confirm  and  illustrate  this  fact,  we  have  only  to 
turn  to  innumerable  instances  of  its  picturesque  application. 

The  American  Telephone  and  Telegraph  Company,  since  its 
inception,  has  presented  a  simplified  silhouette  bell  as  the  trade 
mark  symbol  of  its  operations.  This  bell  is  everywhere  seen, 
on  booths,  in  literature,  on  signs,  etc.  It  is  one  of  the  best 
examples  imaginable,  because  of  its  far  reaching  application. 
Everybody  is  now  familar  with  it. 

But  the  bell  is,  at  best,  commonplace,  pictorially,  and  after 
it  has  been  reproduced  for  many  years,  it  is  obvious  that  the 
original  power  and  significance  might  become  dulled.  The  Bell 
System,  conscious  of  this,  touched  the  insigne  with  a  semblance  of 
life.  The  bell  was  formed  of  people  and  such  primary  attributes 
as  the  lettering  and  the  cross  lines  were  duplicated. 

The  illustration  will  be  quite  imperishable  because  it  is  an 
ideal  example  of  how  an  advertiser  may  preserve  all  the  tradi- 
tions, ideals  and  characteristics  of  a  life-long  insignia,  and  yet 
depart  from  it  sufficiently  to  create  fresh  public  interest. 

Advertisers  are  unshaken  in  their  belief  in  trade  marks,  whether 
they  be  the  most  pretentious  characterizations  or  the  simplest  of 
monograms.  They  constitute  the  official  signature  of  the  manu- 
facturer. But  if  they  are  to  remain  consistently  effective,  public 
interest  in  them  nmst  be  sustained,  season  after  season,  and  they 
are  to  be  impressed  upon  the  new  generation.  It  must  always 
be  kept  in  mind,  in  the  case  of  a  trade  mark,  that  each  new  gen- 
eration demands  a  new  campaign  in  its  behalf. 


BRINGING  TRADE  MARKS  TO  LIFE 


161 


The  advertiser  either  beheves  in  his  trade  mark  thoroughly 
and  stands  squarely  back  of  it,  year  after  year,  or  gradually 
loses  faith  and  interest,  and  permits  it  to  die  a  natural  death. 
Unquestionably,  these  reactions  are  regulated  by  the  intrinsic 
value  of  the  device  itself.  The  trade  mark  created  under  the 
spur  of  impulse  and  weak  as  a  selling  agent  from  the  start  does 
not  deserve  perpetuating. 


Fig,  98. 

Left. — The  Whitman's  Sampler  advertising  character  while  not  exactly  flexible, 
is  reproduced  here,  in  small  size,  from  a  full  page  in  magazines,  because  it  illus- 
trates a  popular  tendency  to  allow  such  characters  to  occasionally  dominate. 
They  become  the  sole  feature  of  the  message.  In  the  present  instance  there  was 
no  text,  no  display  type  of  any  kind,  apart  from  the  name  on  the  box  which  is  a 
part  of  the  design  jjropcr. 

Ri(]ht. — An  ingenious  and  imaginative  method  of  "bringing  a  trade  mark  to 
life,"  by  forming  it  of  a  vast  mass  of  people,  representing  the  employees  who  make 
the  Bell  System  possible.  Aside  from  paying  a  handsome  tribute  to  these  men 
and  women,  the  public  is  encouraged  to  look  upon  a  trade  mark  as  something 
intensely  alive  and  human. 


The  showing  of  a  trade  mark,  regardless  of  its  character  or 
type,  in  time  fails  of  results.  It  is  a  plant  which  must  be  tended 
ever  so  often  or  it  dies.  There  is  the  instance  of  the  manu- 
facturer of  soap  whose  trade  mark  at  one  time  was  nationally 


1G2 


ILLUSTRATION  IX  ADVERTISING 


known.  But  a  change  in  advertising  policy  relegated  it  to  small 
space.  It  gradually  became  an  incident  in  the  advertising.  At 
the  expiration  of  several  years,  sales  fell  off,  and  the  manufac- 
turer came  to  realize  that  his  trade  mark  had  always  meant  more 
than  he  himself,  realized. 

This  trade  mark,  or,  more  properly,  an  advertising  character, 
was  lifted  out  of  its  inconspicuous  corner  and  made  the  spot- 


Jmooths   the   Hpad 

J0gg^    '^'1  r.'.,.l<  .irc  Mnr.ll.  nnds  when 

^^^^^^L  ^"'1'  '■i*r  ts  Bo^ch  ci|iiip|icJ. 

r-|B  (d    I  ""  I'  '^-l>  Sh<K-k  A!»<irhcr  is 

'  I^^^^P  "^^''   '"  {•rtnctpic  anil  desiga. 

J^^^^^    ''  iuncfions  continuously  nni) 

w  (iivcs  a  new  comfort  to  ndini; 

K-^pjir  ^     and  i  new  protection  to  the 

f„  ~     car.   Insist  on  Bokch  Shock 

ISw?'      Absoiticn!  and  riJc  in  comfort 

^"^"      and  safety.     .Made  by  the 

V»4MAUn      makers  of  dlt   fl<-s^h  Ma'jncKi. 

TiffMnlMofi 

SHOCK 

ABSORBER 


■».   A-.  /  Bosih  Sp.„k   IMui;    .".1.  ^...,«l  .IS  iIk  li.".Ji  M.i^nct.^"      Il..s.-h 

dcM'^ncd   .Old   B-i^h  hnilt— a  ijujlity  ji*  thnMli;li..lit.      The  excliisitc  IWjsch 

",Amh),n."  ii'MiUtor  —  pr.iclicalls   unlncakahle,  ini(>cr\ n >ii>  to  hc-at  or  hijjh 

Nickel  »tccl  jIIov  elcctroiles.     One  piece  sticl  shell.     Leak 

(.r.H.r.      Specilv  Bosch  H„l  I'loys  and  l..r>.el  all  s|.ark  plug 

•'     f.   Ill  »i\e  t\pcJ»  and  si/es.     Remilar  si/.c-s  $i.oo.     Foni  si7.c  75c. 

A. \l  IK  lew     RO.SQH     ^^-^     .M  A  O  N  E  T  O    C  O  K  P. 

SPARI^LUGS 


Fig.  99.- — Throughout  niany  years  of  advertising,  this  symbolic  advertisiiiR 
character  is  shown  in  every  display,  busily  at  work.  The  artist  is  iierniitted  to 
place  him  in  any  position,  any  pose,  just  so  long  as  his  true  identity  is  preserved. 


light  feature  of  all  advertising.  No  actual  change  was  made  in 
its  physical  presentation,  but  it  was  shown  larger  tliun  ever  before, 
even  in  the  gala  days  of  its  initial  appearance.  The  text  paid 
tribute  to  it.     It  occupied  the  center  of  the  stage. 

Now  and  again,  investigations  made  by  an  advertiser  in  retail 
centers  convince  him  that  his  trade  mark  is  of  greater  significance 
than  he  had  imagined.  If  competitors  have  been  encroaching 
upon  his  field,  the  most  valuable  curative  influence  may  be  to 


BRINGING  TRADE  MARKS  TO  LIFE 


103 


feature  the  trade  mark  and  to  ask  people  to  look  for  it  and  to 
insist  upon  it. 

One  of  the  most  notable  campaigns  ever  launched,  wherein  a 
flexible  trade  character  was  utilized  in  a  seemingly  endless 
variety  of  compositions  was  a  series  of  newspaper  and  magazine 
advertisements  for  the  Rolls-Royce  automobile.  There  had 
been  designed  for  this  car  an  exquisite  figure  of  speed,  easy 
flight  and  winged  victory  over  space.  Wrought  in  silver,  it 
was  poised  on  the  radiator  cap,  a  fair  face  inclined  toward  the 


<, 


56 1«  iuit  A  number — S8  is  jtist  a  nuniSci  —  hul  .^.'nHjrK  c-khI  ihincs  tu  c: 

Here  are  Heinz  5/  Varieties.  Hou'  many  du  ymi  know! 


?i£^ 


SSsK'SSj-"' 


GINGBR  AI/E. 


Fig.    100. 

Left. — For  many  years,  the  Heinz  trade  mark  of  the  familiar  numcral-s,  "57," 
were  merely  introduced  as  an  incidental  somewhere  in  every  advertisement. 
But  periodically,  it  becomes  necessary  to  revive  interest  in  such  de\'ices  and  to 
manufacture  fresh  public  interest  in  them  for  new  generations.  By  embellish- 
ment, by  the  magnified  space  allotment,  and  by  the  whimsical  background,  the 
Heinz  57  is  clearly  dramatized. 

Right.- — The  quaint  little  Eskimo  Kid,  of  Clicquot  fame,  is  an  example  of  the 
type  of  advertising  character  which  is  set  to  work  in  numerous  compositions,  and 
not  arbitrarily  held  to  one  position.  He  is  one  of  a  con.siderable  family  in  the 
modern  scheme  of  things.  The  Little  Fairy  of  Fairy  Soap  does  not  climb  down 
from  the  chill  aloofness  of  her  oval  cake,  and  the  Old  Dutch  Cleanser  girl  "chases 
dirt"  in  exactly  the  same  pose  throughout  the  years.  It  appears  to  be  an  accepted 
theory  that  active  characters  make  it  easier  for  variety  in  the  advertising 
schedule. 


open  road  ahead,  and  flying  draperies  floating  behind  like  the 
wings  of  a  poised  bird. 

Although  the  Rolls-Royce  had  adopted  a  trade  mark  mono- 
gram   of    two   graceful  initial  R's,  the  silver  figurette  became 


1G4 


ILLUSTRATION  IN  ADVERTISING 


increasingly  popular,  and  began  to  make  its  appearance  in  all 
advertising.  But  the  characteristic  phase  of  these  displays  was 
in  the  startling  number  of  different  poses.  The  silver  symbol 
was  not  pictured  twice  in  the  same  position.  Its  identity  was 
not  lost  because  these  liberties  were  taken.  That  the  illustra- 
tions were  of  one  fixed  master  model  was  evident.  Repetition 
at  last  gave  the  radiator  cap  figure  all  the  virtues  of  an  accredited 
advertising  character. 

Attention  is  called  to  reproductions  of  a  number  of  the  Rolls- 
Royce  magazine  and  newspaper  compositions.     Here  the  flexible 


teRoCifavtr'iiirt' 


ROLLS-ROYCE 


ROLLS-ROYCE 


ROLLS-ROYCE 


Fig.  101. — -While  the  same  figure  is  used  throughout,  as  the  pictorial  feature  of 
the  campaign,  observe  that  no  two  poses  are  alike.  The  artist  has  selected  ever- 
changing  perspectives  and  viewpoints.  Trade  mark  characters  never  grow 
monotonous  when  handled  in  this  manner.  A  significant  feature  of  the  Rolls- 
Royce  series  was  the  apparently  endless  variants  secured. 

trade  mark^ — it  has  now  grown  to  this  estate — is  employed  wisely 
and  with  real  initiative.  It  does  not  become  tiresome.  It  does 
not  wear  out  its  welcome.  Had  a  fixed  pose  been  arbitrarily 
chosen  to  appear  in  every  advertisement,  the  result  would  have 
been  less  pleasing.  The  campaign  in  its  entirety  illustrates  that 
more  liberal  viewpoint  regarding  trade  marks  antl  advertising 
characters  makes  for  less  conventional  displays  and  is  nicely 
calculated  to  prevent  such  devices  from  "going  to  seed." 

It  is  the  modern  idea  to  put  trade  marks  to  work.  Relegating 
them  to  some  inconspicuous  part  of  the  advertisement  and  giving 
them  no  more  than  casual  emphasis  is  an  echo  of  the  past.  A 
trade  mark  is  no  seasonal  advertising  problem.  It  should  make 
its  presence  felt  always.  If  a  design  or  a  figure  has  been  chosen 
which  does  not  lend  itself  to  variants  of  display  and  exploitation, 


BRINGING  TRADE  MARKS   TO  LIFE 


1G5 


this  is  the  advertiser's  misfortune.  Today's  campaign  characters 
are  studied  out  in  advance  and  in  their  relation  to  copy  and 
pictorial  possibilities.  A  smiling  baker,  who  is  a  composite  of 
all  the  bakers  in  the  country,  a  sweet-faced  mother,  who  is 
symbolic  of  universal  motherhood,  a  likable  old  shoemaker  at 
his  bench,  a  master  chemist  in  his  laboratory,  a  garage  service 
station  worker,  a  house  painter,  a  servant  girl,  willing,  eager,  and 
efficient  who  becomes  the  humanized  symbol  of  the  service  ren- 
dered by  electrical  household  appliances — these  are  a  few  of  the 


Fig.  102. — In  a  very  remarkable  campaign,  the  chief  objective  of  which  was  to 
rekindle  interest  in  a  name,  a  trade  mark,  the  Buick  advertising  devised  this 
transparent  lettering  novelty,  whereby  the  reader  is  compelled  to  look  through 
the  trade  mark  at  the  changing  panorama  of  scenic  interest  upon  which  it  is 
skilfully  superimposed.  This  is,  then,  an  example  of  how  a  rather  commonplace 
and  uninspired  device  can  be  given  pictorial  interest.  The  backgrounds  were 
different  in  every  display. 


interesting  host  of  new  advertising  characters,  which  are  sur- 
rounded by  no  rules,  and  bound  about  by  no  restrictions.  They 
are  ever  changing.  The  public  sees  them  day  by  day  in  new 
guises  and  at  new  activities.  Their  flexibility  keeps  them  very 
much  alive. 

A  parallel  case  with  the  Rolls-Royce  campaign  is  the  strategic 
series  created  for  the  Buick  automobile.  Here  the  advertiser 
was  somewhat  handicapped  by  the  fact  that  his  trade  mark  was 


166 


ILLUSTRATION  IX  ADVERTISING 


Why  keep  FRICTION 
on  the  Pay-roll? 


L 


qA  cosily  discredit 
to  good  management 


)  he  partly 
iig  ]>ower— 


pulV,  .Ira^  and  Iml.l 


.iiffcrcnr  u) 
the  jniquw 


What  oUs  should  you  use .' 
—  what  ihould  ^-ou  p«v  f"r  thcm! 

Vhai  wc  knuw  your  oquipmcnr  and  op- 
r.i!iag  contl'ttion^  il<v  makjng  a  Lubrtca- 
lun  AiiJit  c¥pUin€il  in  column  at  right), 
re  can  pfcachbe  the  correct  mts  for  the 


1  Lubrication  Audit 


REcOMMEND/,X10NSt 


J  wit. 


•M  »iU  Jian^c  (aggiT((  mathincTV  into 
h^nrry    whtHc  c^^crjtiun  U  a  crAlir  to 

W'  ycHi  rcAti^  that  neatly  every    pU 
•ni-    tinw    nr    aitothcT    ha^    xJiul 
li.wn  (o^  rtuair>— due  'o  lawlM 


G^^*^^ 


recommend  wilt  be  corrcrt  fc^ 
d  ritli  in  luhrit«infi  (tualltici  - 
I  to  k«p  in  inmd  (hut  the  brt! 
OiU  arir  thos*  that  luhricaic  most,  llw)'  teill 
cn*t  jou,  projufHy.  a  fc»  ttnti  rmwr  jvr  galkwi 
than  oiU  rif  lower  luhricaling  qtuliucs. 

Vou  will  |«y  the  pritx  of  high  quality  oils 
whether  you  uw  them  or  not.  In  not  uiing 
thori,  you  Nimply  j»ay  for  them  in  power  losses. 
repairs  and  shut<<lowiu. 

Wr  invite  you  to  let  us  dctnonMrite  the 
Miivrior  rCwwHny  of  Gargoyle  Luhritailng  Oil^, 
vr!  i(i.\l  hv  u*  lo  meet  your  particolar  hihri 
caiing  problems.  In  writing 
kmdlv  ajdrcw  our  nearest  branch 


Lubricating  Oils 

y/gmjf/r.r  (Hili  type  of  <<T(ke 


t.  HtCKINUi  l>.Uk>nc»> 


VACUTJIM     OIL      COIVIPANY 


Fig.  103. — Although  the  Vacuum  Oil  ('()iiii>:iny  lias  an  established  trade  mark 
in  its  Gargoyle  feature,  the  far  more  popular  and  interesting  device  is  an  allegorical 
figure  of  Friction,  used  consistently  throughout  numerous  camijaigns  and  always 
in  different  po.ses,  as  different  stories  are  related.  l-$y  running  the  figure  proi)er  in 
a  brilliant  red,  its  ghostly  (lualities  are  emphasized. 


BRINGING  TRADE  MARKS  TO  LIFE  167 

the  hand-lcttcrccl  name  plate.  There  was  no  dramatic  and 
imaginative  human  figure. 

The  trade  mark  was  brought  to  life  by  allowing  it  to  partly 
merge  into  constantly  changing  backgrounds  which  were  atmos- 
pheric to  a  degree  and  which  were  not  duplicated.  If  a  series 
was  to  be  used  on  the  inferior  paper  stock  of  farm  journals, 
then  the  illustrations  were  in  pen  and  ink,  for  line  reproduction, 
and  the  scenic  backdrop,  behind  the  trade  mark,  was  colored 
with  rural  activities.  If  another  series  was  to  appear  in  standard 
magazines,  the  backgrounds  were  higher  in  the  artistic  scale,  and 
reflected  the  atmosphere  of  this  market.  But  in  order  to  see 
the  illustrations  it  was  necessary  to  look  through  the  trade  mark, 
which  was  done  in  the  "ghost  technique"  transparent,  of  the 
X-ray  school.  It  was  this  feature  which  made  the  campaign 
distinctive. 

The  worker  trade  mark  has  taken  the  place  of  the  drone. 
The  awakening  to  this  better  application  has  caused  advertisers 
to  adopt  in  reality  two  trade  marks.  Acknowledging  the  futility 
of  breathing  inspiration  into  devices  which  were  conceived 
many  years  ago,  manufacturers  look  about  for  suitable  insignia. 

]\Iore  significant  in  the  advertising  history  of  the  Vacuum  Oil 
Company  than  the  gargoyle,  from  which  the  product  takes  its 
trade  name  and  which,  years  ago,  was  selected  as  a  business 
symbol,  is  the  cunning  figure  of  Friction.  This  figure  is  a  living 
trade  mark;  it  is  susceptible  of  innumerable  changes  and  applica- 
tions. It  may  stand  arrogantly  atop  the  industrial  plant  in  one 
display,  or  retard  the  easy  movement  of  factory  wheels  in  the 
next.     Friction  is  made  a  tangible  though  imaginative  reality. 

Another  modern  development  is  advertising  characters  which 
are  truly  alive.  They  are  either  drawings  or  photographs  of 
actual  people  with  whom  the  reader  is  apt  to  come  in  contact. 
In  their  effort  to  sell  direct,  and  in  building  up  great  nation-wide 
selling  organizations  for  door-to-door  calls,  a  number  of  advertis- 
ers picture  these  selling  agents  in  their  campaigns. 


CHAPTER  XXI 
ANIMATING  THE  INANIMATE 

Many  years  ago,  as  a  feature  of  the  famous  Eden  Musee  in 
New  York,  there  was  a  strange,  uncanny  chess  player.  It  was 
no  more  than  a  dummy,  richly  garbed  in  oriental  silks,  but  those 
who  wished  to  do  so,  could  sit  at  a  chessboard,  and  when  its  time 
came  to  make  a  play,  the  lifeless  hand  moved,  the  composition 
fingers  grasped  the  chessmen,  and  the  game  proceeded.  Every- 
one knew  that  it  was  a  dummy,  but  the  semblance  of  life  gave  it 
popular  attraction.  There  were  always  crowds  in  that  corner  of 
the  gallery. 

When  inanimate  things  are  made  animate,  people  are  interested. 
In  an  advertising  sense,  this  constitutes  an  infallible  method  of 
arousing  attention  for  commonplace  objects.  To  put  the  prod- 
uct to  work  is  an  accepted  expedient  and  one  in  which  the 
artist  has  become  remarkably  proficient.  A  tin  of  salad  oil 
might  have  little  attraction.  There  are  thousands  of  products  in 
boxes  and  cans  and  few  of  them  are  unusually  distinctive.  But, 
as  in  the  case  of  Wesson  Oil,  give  the  container  legs,  arms,  a  body, 
and  put  it  in  motion,  and  it  immediately  wins  reader  attention 
which  did  not  exist  before.     It  is  an  unusual  type  of  illustration. 

As  the  feature  of  a  most  unconventional  newspaper  campaign, 
the  advertisers  of  Wesson  Oil  brought  the  homely  container  to 
life.  It  was  represented,  to  all  intents  and  purposes,  as  a  thrifty, 
busy  housewife,  although  no  actual  face  was  required  to  suggest 
this  idea.  A  checked  apron  and  rolledup  sleeves  constituted 
the  only  addition  to  the  can,  with  now  and  again  a  glimpse  of 
quietly  shod  feet.  In  some  large  displays,  there  were  progressive 
illustrations,  which  pictured  the  Wesson  Oil  can  first  rolling  the 
dough,  then  fitting  it  snugly  into  the  pie  tin,  then  cutting  the 
apples  into  bits,  and  slicing  off  the  edges  of  the  crust,  and  finally 
the  finished  pie,  ready  for  the  oven. 

The  advertiser  gains  in  the  following  ways  by  bringing  his 
product  to  life: 

168 


ANIMATING  THE  INANIMATE 


169 


Attention  concentrated  upon  the  container. 

Makes  for  remembrance  value  of  product. 

Provides  interest  in  an  object  which,  of  itself,  may  not  be  interesting. 

Supplies  connected  theme  for  a  series  of  advertisements. 

Closely  associates  the  product  with  the  service  it  performs. 

Gives  full  credit  to  the  product  instead  of  to  the  individual  user. 

Secures  reader  interest  in  advertising  subjects  which  are  commonplace. 


Fig.  104. — Members  of  a  jolly,  thrifty  little  family,  as  a  can  of  oil  is  imbued  with 
life  and  becomes  a  housewife  of  the  old  school,  ready  for  any  problem.  Features 
— eyes,  nose  and  mouth  are  not  even  necessary  to  accomplish  this  interesting 
objective. 


There  are  numerous  methods  by  which  an  inanimate  object 
may  be  brought  to  life,  but  the  obvious  and  perhaps  the  best 
idea  is  to  give  it  arms,  legs,  and  a  face.  There  are  rules  and 
observances,  however,  which  should  always  be  kept  in  mind  and 
one  of  the  most  important  is  to  hold  the  product  itself  adequately 
clear  of  added  accessories.  The  value  of  the  plan  is  to  famihar- 
ize  the  consumer  with  the  article  in  such  a  manner  as  to  make  it 
easier  for  him  to  recognize  it  when  he  sees  it  at  its  point  of  sale. 
It  has  been  found  that  comparatively  few  persons  can  instantly 
identify  a  package,  for  example,  when  it  is  placed  with  many 
other  brands. 

A  still  more  valuable  attribute  is  that  of  an  association  of 
ideas.  The  product  itself  does  the  work.  A  fundamental 
thought  in  connection  with  it  is  visualized.     When  considered 


170 


ILLUSTRATION  IN  ADVERTISING 


from  one  point  of  view,  heating  plants,  for  examples,  may  be 
pictured  as  tyrants,  making  their  owners  step  lively  and  over- 
whelming them  with  fussy  exactions,  or  they  may  be  conceived  as 
self-sufficient  helpers,  cheerfully  attending  to  their  own  affairs, 
without  complaint  or  assistance.  A  manufacturer  of  boilers 
and  radiators  for  homes  believed  that  this  humanizing  of  a 
commonly  known  device,  would  more  surely  convey  the  basic 
idea  of  a  certain  advertisement  than  much  technical  descriptive 
talk.  And  to  visualize  it,  he  had  drawn  a  man,  shovel  in  hand, 
looking  at  two  heating  plants.     One  plant,  chosen  at  random, 


Fig.  105. — The  product,  a  can  of  oil,  given  life  and  made  to  take  the  part  of 
a  traffic  officer,  while  Noise,  Carbon  and  Wear  with  hands,  arms  and  legs,  enter 
into  the  spirit  of  a  humorous  situation. 


had  a  surly,  glowering  face  drawn  on  its  asbestos  surface.  The 
ugly  mouth  was  drawn  down  into  a  leer,  the  brows  were  con- 
tracted, and  the  entire  expression  one  of  insistent,  unflinching 
selfishness.  It  pointed  significantly  to  a  huge  pile  of  coal,  as 
much  as  to  say:  "I'll  use  all  that  before  the  winter  is  over,  and 
more.  Whatcha  got  to  say  about  it?"  The  manufacturer's 
heating  plant,  on  the  opposite  side,  wore  a  wholesome  smile. 
It  looked  affable  as  it  pointed  to  the  small  amount  of  coal  it 
demanded.  A  humanized  contrast  was  established  by  means  of 
animating  the  apparently  inanimate.  The  method  often  requires 
the  viewpoint  of  the  trained  cartoonist. 

To  bring  a  product  to  life  by  giving  it  eyes,  nose,  mouth,  arms, 
and  legs,   with  no  adequate  selling  and   advertising    objective. 


ANIMATING  THE  INANIMATE  171 

is  apt  to  strip  it  of  its  dignity.  It  is  by  no  means  a  good  practice 
for  continuous  advertising  usage.  Where  a  whimsical  turn  of 
copy  gives  an  illustration  of  this  character  validity,  it  makes  a 
valuable  addition  to  any  campaign. 

Anything  from  a  factory  building  to  a  can  of  soup  may  be 
animated  by  the  resourceful  and  imaginative  artist.  A  notable 
series  for  use  by  a  manufacturer  of  paints  and  varnishes  used,  in 
most  remarkable  and  amusing  pictures,  innumerable  types  of 
houses  from  the  bungalow  to  the  mansion  and  from  the  small 
factory  to  the  industrial  plant  covering  many  acres.  Windows 
became  eyes  and  doors  were  mouths.  The  buildings,  although 
architecturally  sound,  had  a  delightful  way  of  expressing  their 
moods.  The  house  which  had  been  neglected  and  which  was 
therefore  falling  into  decay  bore  the  most  desolate  and  dejected 
expression,  as  it  huddled  behind  a  clump  of  leaf-shorn  trees, 
against  the  grey  and  windy  autumn  sky.  No  hope  left!  Its 
owner  had  for  too  long  a  period  thought  paint  unnecessary. 
"Woe  is  me!"  moaned  the  unhappy  edifice. 

On  the  other  hand,  the  advertiser  gave  the  public  spritely, 
smiling,  jaunty  homes,  their  eyes  dancing  with  content  and  their 
complete  expressions  at  once  visualizing  the  joy  of  the  surface 
saved.  Advertising  illustrations  must  be  obvious  to  a  degree; 
such  illustrations,  primitive  as  the  cartoon  idea  which  gave  them 
birth,  are  essential  to  the  campaign  of  a  well-balanced  year. 

The  surprising  part  of  it  is  that  the  possibilities  appear 
unlimited.  "But  I  can't  bring  my  product  to  hfe,"  complains 
the  advertiser  to  whom  the  idea  appeals.  "It  is  not  suited  to 
that  sort  of  thing."  There  are  practically  no  limitations.  But 
a  special  type  of  talent  is  required  to  do  the  thing  naturally, 
without  straining  for  effect,  and  with  the  true  sense  of  humor, 
which  largely  regulates  success.  It  occurred  to  an  artist  recently 
to  draw  a  series  of  studies  of  trees.  He  felt  that  they  were  nearly 
human,  being  happy  or  unhappy,  sick  or  well  much  like  people. 
From  this  inspirational  idea  came  an  impressive  series  of 
drawings,  wherein  trees  actually  did  become  human.  The 
characterizations  ran  all  the  way  from  the  elf-like  dancer  to  the 
cringing,  hand-clasping  Uriah  Hecp. 

An  equally  significant  method  is  that  of  lending  form  to  sensa- 
tions, to  conditions,  and  to  words  for  which  there  is  no  true 
illustration.  An  insurance  company  has  created  a  symbol  of 
fire — a    sinister    figure,    dressed    in    funeral    black,    a    cowl    on 


172 


ILLUSTRATIOX  IX  ADVERTISING 


the  head,  and  features,  hands,  and  feet  of  carmine.  Because  the 
advertising  is  always  run  in  two  colors,  the  significance  of  the 
flaming  face  and  hands  is  peculiarly  impressive. 

The  picture  of  a  fire  would  not,  under  any  circumstances,  stand 
the  advertiser  in  as  good  stead  as  this  human  symbol  of  it,  crafty 
and  eager  to  destroy.  It  insists  during  its  progress,  from  week 
to  week  and  month  to  month,  that  persons  think  in  a  new 
way  of  the  subject  of  fire  and  of  the  responsibility  to  guard 
against  it.     Fire  has  been  pictured  as  beating    at  the  metal 


Keep  Fire.  Out! 


Fig.  106. — An  insurance  company  makes  the  public  see  Fire  as  a  crafty, 
malignant,  revengeful  figure,  of  leering  red  countenance  and  the  black  habiliments 
of  disaster  and  death  .  .  .  more  effective  than  illustrations  of  burning  houses, 
it  must  be  admitted. 


windows  of  a  factory,  as  shying  from  the  patent  e.xtinguishers, 
as  juggling  with  human  lives,  as  a  domineering  swaggerer,  strid- 
ing across  miles  of  damaged  homesteads  and  business  buildings.  It 
is  easier  to  grasp  the  significance  of  what  fire  is  and  what  fire  does, 
when  it  is  brought  to  life  and  given  an  individuality  of  its  own. 
Power  has  been  animated  and  given  material  form  in  numerous 
ways,  more  habitually  as  a  giant  doing  things  which  require  feats 
of  terrific  strength.  As  an  indication  of  the  almost  inexhaustible 
fund  of  art  ideas,  attention  is  called  to  a  vividly  imaginative 
illustration  reproduced  on  these  pages.  The  accompanying 
text  gives  a  word  picture  of  the  advertiser's  basic  thought — how 
much  more  effective  is  the  picture: 


ANIMATING  THE  INANIMATE 


173 


The  most  expensive  walk-out  in  the  world — the  Power  Strike,  Power 
is  continually  going  on  strike.  Up  the  chimney  it  goes,  or  dribbles 
away  through  packing  leaks,  through  bare,  hot  pipes  and  surfaces,  or 
elsewhere  tliroutihoiit  the  plant.     Wasted  power  is  wasted  fuel. 


Your  Boiler  is  your  Boss— f>ick  a  good  oiie 


TO  MEN 
IN  IND 


Tlu-nu..,.xrcn.Mvc  g 


MU 

h,r^ 

«» 

wnrk. 

in~).l| 

..  fbm 

'}c''\ 

,::;;r 

Tr'I: 

JOHNS-J>^ISNVILLE 

SAVES  T"  POWER 


HE  HOWLS 

Let  him  howl! 


Penny- shelving' 

]  dangcnius  pr.icTicr  in  plant  niaiiiigenunt 


o^«2^ 


Lubricating  Oils 


VACUUM     OIL      COMPANY 


Fig.    107. 

Upper  Left. — Bringing  two  types  of  heating  plants  to  life,  cartoon  fashion,  to 
elaborate  a  sales  argument.  The  gruff  and  "bossy"  furnace,  a  coal  consumer, 
and  the  smiling  example  of  economy,  given  character  by  a  few  deft  strokes. 

Upper  Right. — Winter,  made  into  something  more  than  snow  and  ice,  by  an 
artist  who  pictures  it  as  a  lone  wolf,  howling  on  a  wind-swept  hill.  Animals, 
because  of  their  familiar  characteristics,  are  often  employed  in  this  spectacular 
fashion. 

Lower  Left. — Waste  power,  animated  and  given  "personality,"  which  permits 
the  copy  to  draw  an  apt  comparison  with  labor  and  the  sullen  strikers.  A 
dramatic  type  of  illustration  is  the  result. 

Lower  Right. — Friction  may  be  "animated,"  but  visualizing  it  by  a  less  effec- 
tive method  than  the  above,  would  be  exceedingly  difficult.  For  several  years, 
the  advertiser  always  portrayed  friction  as  the  great,  retarding  giant,  thus  more 
definitely  establishing  an  idea  for  the  multitudes. 

This  text  is  quoted  because  it  so  perfectly  fits  the  mood  of 
the   illustration   which  has  been   drawn  for  it.     The   conven- 


174 


ILLUSTRATION  IN  ADVERTISING 


tional  picture  might  well  have  been  a  mere  industrial  panorama 
of  factory  buildings  and  high  chimneys.  In  the  foreground 
loomed  the  topmost  brick  masonry  of  a  wide-throated  chimney, 
hundreds  of  feet  from  the  ground.  From  it,  rose  heat  waves,  and 
escaping  steam.     Into  these  elements  were  sketched  brawny, 


Tramp  labor  or  skilled  help? 


Success  in  fanning  demands 
that  you  weigh  these  facts 

retUy  yaad  lubrMidnf  }o(>  i>  u  rsoliiK  »  MibniluIiKf  o*  MobUoJ.  hriojKl  ■!  itifftrmi  pli 

•litrflni  irimp  tibw  fcf  umir  tip-Wt  Wp  •">*«    Vou  -lU  fa«l  i»  <l.l*ne«t 

fht  itiony  l«l-H.twJ  hy  GxtfoyU  M<*.lo.l  KMilly  >tm«K». 
ien  icramplith  mort,  jux  at  rou  irttMncli-Ji  mvrc  Til  )  tc|Hritf  (illont  offhfip  a 

iSc*  )<«  *Sy  trimp  Itbonn    Oi*  wnple  lMi<l>  «l 

tndnttd  ttpiriaify  for  in  ntrdi  (J)    EsttrimeeAnlf 


^•nt  ytM.  bill   for  thnr  lutmlfH 


t  o(  >h(  V.(uun.  CM  Boird  of  E 


Mobiloil 


TRACTOR  Lubrica 


rc:-rf 


VACTJUIVI    OIL     COMPAN^Y      ^ 

Fig.  108. — Cheap,  inferior  oil,  and  the  efficient  kind,  characterized  aptly 
enough  by  means  of  human  figures.  Poor  oil  may  be  compared  with  unskilled, 
lazy  tramp  labor,  always  eager  to  avoid  responsibility. 

broad-chested  toilers,  their  sledge  hammers  over  their  shoulders, 
upper  parts  of  swarthy  bodies  bare,  and  faces  sullen.  Power 
was  put  into  picture  form  and  given  dramatic  illustrative  interest, 
for  a  subject  which  might  easily  have  been  commonplace. 
Winter!  How  could  such  a  theme  be  animated,  given  more 
than  passive  character?  Surely,  not  by  even  the  most  adequate 
picture  of  a  snow-covered  landscape.  A  manufacturer  of  radi- 
ators sees  winter  through  the  eyes  of  a  dreamer  with  colorful 


ANIMATING  THE  INANIMATE 


175 


imagiaation.  On  the  crest  of  a  white  hillside  stands  a  wolf,  at 
bay,  the  frosty  breath  steaming  from  its  red  nostrils.  And,  down 
in  the  valley,  there  are  snug  homes,  protected  from  the  most 
severe  weather  by  proper  heating  plants.  "The  Wolf  of  Winter! 
He  howls.  Let  him  howl.  He  lurks  at  doors 
and  windows.  He  preys  on  the  health  of 
children.     His  cry  is  the  biting  north  wind." 

A  lubricant  for  farm  machinery  is  visual- 
ized as  the  efficient  farmhand,  who  is  up  and 
on  his  job,  as  opposed  to  the  lazy,  unskilled 
idler  asleep  under  a  tree,  when  supposedly  at 
work.  A  working  quality  is  pictured,  ani- 
mated. Poor,  cheap  or  indifferently  made 
oil  is  represented  by  the  slacker  under  the 
tree. 

Such  illustrative  devices  as  these  give  all 
advertising  a  welcomed  and  necessary  variety 
of  illustrations.  Otherwise,  all  available 
material  would  be  used  up,  and  monotony 
would  be  inevitable. 

Another  advertiser  of  automobile  and  fac- 
tory oils  has  for  many  years  based  all  adver- 
tising illustrations  on  a  crafty  ghost  and 
the  enemy  of  efficiency — Friction — put  into 
human  form,  forever  holding  back  the  wheels 
of  progress.  For  a  campaign  may  talk  the 
facts  of  friction  without  ever  once  actually 
visualizing  its  evil  intent  toward  public 
welfare.  The  moment  it  is  shown  actively 
retarding  production,  the  most  unimaginative 
mind  can  grasp  the  story. 

Because  its  manufacturers  claim  that  a  radiator  valve  is  a 
saver  of  heat  and  therefore  a  saver  of  coal,  an  advertising  trade 
mark  character  has  been  invented  which  animates  a  service 
performed.  "The  watchman  of  the  coal  pile"  is  the  slogan  and 
the  standardized  picture  shows  a  neat,  efficient  watchman,  in 
uniform,  deftly  worked  in  the  outline  of  the  valve  itself.  Illus- 
trative advertising  of  the  idea  has  a  broad  field  of  wealth,  as 
yet  utilized  only  by  the  more  progressive  advertisers. 


Fig.  109. — An  inani- 
mate product,  an  air- 
valve,  made  animate 
by  the  simple  expedient 
of  suggesting  it  as  a 
watchman  of  the  coal 
pile.  Both  product  and 
figure  are  skilfully 
fused  in  one  composite 
illustration. 


CHAPTER    XXII 

THE  ATTENTION-COMPELLING  THEME 

There  are  occasions,  in  every  advertising  campaign,  when 
something  in  the  text,  a  hne,  a  reference,  a  happy  headUne,  will 
provide  for  the  use  of  a  peculiarly  compelling  method  of  illustra- 
tion. There  is  a  demarcation  between  the  purely  sensational, 
melodramatic  type  of  illustration  and  the  one  which  is  obviously 
and  frankly  fantastic.     As  one  advertiser  has  said, 

Niagara,  as  it  is,  attracts  millions,  but  if  the  waters  of  Niagara 
tumbled  up,  instead  of  down,  the  entire  nation  would  flock  to  see  it. 
We  attempt,  in  our  campaigns,  to  use  with  great  frequency  illustrations 
which  are  absolutely  irresistable  and  we  have  the  known  reactions  of 
human  nature  to  reassure  us.  People  must  "stop  and  look."  Any 
campaign  stands  in  need  of  this  "Picture  tonic"  wisely  administered. 
It  requires  a  great  deal  more  thinking  to  arrive  at  such  illustrations  but 
they  automatically  guarantee  a  receptive  audience. 

For  the  most  part,  these  whimsical,  striking,  and  even  fantastic 
and  unreal  ideas  proceed  from  a  subtle  element  in  the  opening 
lines  of  the  text.  They  are  most  valid  when  this  sympathetic 
association  does  not  strain  too  hard  for  tieup. 

The  object  of  most  illustration  is  to  amplify  visually  what  is 
said.  In  this  hurried  generation,  illustration  must  serve  largely 
as  the  ballyhoo  of  the  "big  show." 

The  artist  draws  a  picture  of  an  energetic  small  boy  sawing  a 
piece  of  plank  on  one  of  the  most  expensive  chairs  in  the  library. 
Unconsciously,  the  reader  shudders  with  apprehension.  That 
invaluable  Jacobean  chair  will  be  absolutely  ruined.  Whatever 
can  be  happening.  The  boy  is  using  a  Simonds  saw.  One  thing 
is  certain  although  the  association  of  ideas  may  be  unpleasant, 
the  eye  has  been  lured  and  attention  more  than  ordinarily  con- 
centrated.    It  is  the  type  of  picture  which  refuses  to  be  ignored. 

"Let's  go  back  along  the  Road  to  Yesterday,"  states  an  equally 
compelling  headline,  and  even  now,  the  objective  of  the  illustra- 
tion has  not  been  brought  out.     It  is  necessary  to  continue: 

17G 


THE  ATTENTION-COMPELLING  THEME  177 

Somewhere  back  among  the  days  of  the  old  swimmin'  hole  and  cat- 
fishin'  along  the  river  bank,  there's  one  day  that  was  long  remembered — 
the  day  that  first  tool-chest  arrived.  Mother  probably  worried  about 
you  sawing  up  the  legs  of  the  old  square  piano.  Dad  probably  looked 
on  and  smoked  himself  into  pipe  dreams  of  your  future  .  .  .  And  you 
— why  you  knew  you'd  grown  up.  Why  not  gratify  the  liking  that 
you've  still  got  for  good  tools  by  including  in  your  tool  equipment  a 
Simonds  Hand  Saw. 

The  advertiser  is  willing  to  depart  from  the  conventional 
illustration  found  in  campaigns  for  a  product  of  this  character. 


Fig.  1 10. — An  illustration  which  gives  the  reader  a  sudden  thrill  of  apprehen- 
sion, as  the  small  boy  saws  a  plank  on  the  expensive  parlor  chair.  The  desire  is 
to  read  the  text  and  find  out  "what's  it  all  about?" 

The  idea  which  depends  largely  upon  sentiment  and  fun  and  a 
pulse  quickening  dash  of  action  is  out  of  the  ordinary.  A  great 
many  men  will  grin  reminiscently  at  sight  of  the  small  boy  so 
earnestly  at  work  on  the  family's  prize  chair. 

Illustrations  coming  under  this  classification,  however,  are 
more  generally  based  upon  an  even  deeper  indulgence  in  dra- 
matics and  in  sensation.  A  large  rugged  hand  reaches  into 
another  picture  and,  selecting  one  car  on  a  street  teeming  with 
vehicular  traffic,  grasps  it  from  behind,  holds  it,  and  prevents 
it  from  easily  proceeding.  It  pictures  the  headline  thought 
"The  unseen  hand  that  holds  back  your  car.     The  'drag'  that 


178 


ILLUSTRATIOX  IX  ADVERTISING 


An  outdoor  heating  systctn 
Is  ytnm  one? 


JoHNS'MANVILLE 

^._    »      Improved       , 

a--Asbestocel 


The  Uiiscfn  Hand 

that  Holds  Back  Your  Car 


—  saves  cnal 


GAS-CQ-LATOR 


When  Your  Motor 
turns  Broncho 

^>r'   ''.     —liim'l  tntitli 


Din  and  Wuler  in  Vuur  Gav>Iiiii 
Is  What  Makes  V, 


Ufuier/ieath  tlmtpcyjectfmish 


IF 


^  AL£MITE 

GAS-CO-LATOR 


^Mtlihi^  takes  the  place  of 

LEATHER 


Fig.  111. 

Upper  Left. — Illustrated  conventionally,  literally,  the  subject  of  steam  pipes 
and  their  insulation  would  not  be  apt  to  interest  a  very  largo  audience,  but  l)y 
dramatizing  an  idea,  the  advertiser  compels  attention. 

Upper  liifjht. — Mechanically  devised  illustration  for  a  product  of  this  character, 
might  easily  fall  into  the  uninteresting  and  unattractive  class.  But  by  picturing 
a  condition  known  to  all  motorists,  in  this  rather  thrilling  manner,  the  embel- 
lishment of  the  advertisement  forces  attention. 

Lower  Left. — A  mechanical  theme  given  intensive  reader  interest,  because  of 
an  imaginative  illustration  which  very  cleverly  \isualizes  the  idea  of  a  "bucking" 
automobile  engine. 

Lower  Right. — Discussion  of  the  importance  of  knowing  the  quality  of  the  raw 
material  which  is  in  the  sole  of  a  shoe,  vi\'idly  and  irresistibly  presented  by 
means  of  an  illustration.     A  commonplace  subject  is  given  melodramatic  action. 


THE  ATTENTION-COMPELLING  THEME  179 

water  and  dirt  in  your  gasoline  puts  on  your  motor."  The 
picture  is  used  in  an  advertisement  for  a  device  for  straining 
gasoline  on  a  motor  car. 

In  a  remarkable  series  for  American  sole  and  belting  leather, 
a  giant  shoe  was  turned  on  its  heel,  with  the  sole  facing  the 
reader.  It  is  surrounded  by  a  crowd  of  interested  people  neces- 
sarily in  miniature.  The  shoe  towers  above  their  heads.  A  force 
of  six  men  are  sawing  the  shoe  in  half.  The  two  parts  of  the 
sole  fall  apart  at  the  top.  The  text  for  the  advertisement  is  a 
plea  with  the  public  to  give  greater  consideration  to  "what  is 
underneath  that  perfect  finish,"  the  inside  facts  about  shoes. 
And,  in  order  to  give  drama  to  a  subject  which  might  be  difficult 
to  illustrate  compellingly,  the  artist  has  had  recourse  to  a  com- 
position which  is  sure  to  command  universal  attention.  To 
cut  a  shoe  in  two  for  example,  and  make  this  the  illustration  for 
the  message  would  have  been  to  invite  a  limited  and  indifferent 
audience. 

It  will  be  observed,  then,  that  advertisers  are  literally  forced 
to  turn  to  "attention  compellers"  where  the  subject  in  hand  is 
of  passive  reader  interest.  Many  products  could  not  have  been 
exploited  successfully  had  it  not  been  for  imaginative  illustrations 
accompanied  by  dramatic  text,  which,  working  together,  created 
adequate  reader  response.  Inherently,  these  products  possessed 
none  of  the  essential  attributes  of  what  may  be  termed  good 
advertising.  Granted  that  the  man  who  buys  a  pair  of  shoes 
should  take  an  interest  in  the  soles  of  his  shoes  and  the  material 
of  which  they  are  manufactured,  he  is  apt  to  be  aggravatingly 
indifferent.  But  his  enthusiasm  can  be  stimulated  by  something 
unusual  in  illustration  and  in  text. 

Incongruous  as  it  may  seem,  to  show  an  illustration  of  an  other- 
wise perfectly  groomed  man,  wearing  a  pair  of  garters  around  his 
neck,  the  advertiser  is  insistent  upon  making  the  prospect  give 
added  attention  to  a  new  thought  in  connection  with  the  prod- 
uct. "If  garters  were  worn  around  the  neck,  you'd  change  them 
frequently."  Right.  No  commonplace,  conventional  illus- 
tration would  make  men  realize  that  it  is  just  as  essential  to 
have  garters  always  neat  and  free  from  perspiration  and  "that 
wilted  look,"  as  it  is  always  to  have  clean  linen. 

The  attention  compeller  is  often  admittedly  far  afield  from  the 
product  itself,  but  this  is  no  argument  against  its  use,  provided 
the  tie-up  is  founded  on  some  logical  selling  conclusion,  com- 


180 


ILLUSTRATION  IN  ADVERTISING 


parison,  or  pictorial  parallel.  A  manufacturer  hit  upon  an 
exceedingly  ingenious  and  necessary  idea.  He  was  momentarily 
deterred  from  producing  it  because  he  felt  that  the  article  was 
not  sufficiently  sensational  or  out  of  the  ordinary  in  the  service 
performed  to  provide  a  successful  advertising  campaign.  The 
advertising,  in  other  words,  would  be  tiresome. 


If  Garters  were  worn 
around  your  neck 
you'd  change  them 
frequently. 

Buy    a    fresh    pair   of 

P/1RIS  G/:iRTERS 

No  metnl  c«n  touch  you 

today.  j'Zo'XL 

oii^AGO       ASTtlNA  COMPANY       Mw  ronK  .. 


■'  Jf  coal  wereWmTE 

f  T^  rhf  \>.yr\  ot  vO.il  ihiit  bufn^  «vrc 
L  white  and  the  p.»rT  that  cannot  \< 
burned  were  lilacL  yaw  uouIU  rtjli:c 
**hi<t  clean  coal  nicaiuw  At  a  jtl.tnve  vou 
wimld  *ct  what  a  \va<tc  of  nmnev  and 
encr^'  it  is  to  i>a\  fmitht  charjjc*  on 
&\d  full  (tf  tindoirable  impurities  ;ind 
hovvtr\(vn»fvc  poiv.unprrparcdc^'al  i*- 

C4>n<it>ltdntiun  Ca«l  \h  mined  actord- 
inji  to  ciciin  method^  It  Is  thorxmchlv 
prcparcd  for  the  furnace  i»r  k^'^p'''"' 
after  it  i^  mined.  When  it  rcacho  ihc 
consumer  it  is  clean  bttuminouit  Ck>at, 
with  ihc  hifihcM  heating  value  — coal 
which  yield*  more  en<rv\  than  ^vhen 
full  of  free  impurities  and  which  in- 
sures the  maintenance  of  prtxUictive 
efliciency. 


nil:  ( OXSOLIDATION 
(COW.  (X"^MPA\\ 


Fig.  112. 

Left. — Irresistible,  is  this  unique  illustration,  and,  withal,  legitimatized  by 
its  basic  argument.     One  thing  is  certain — it  will  never  be  passed  by. 

Right. — White  Coal!  Whoever  heard  of  such  a  thing?  Yet  there  is  a  per- 
fectly sound  argument  embedded  in  this  amazing  picture. 


Nor  did  he  put  this  article  on  the  market  until  a  resourceful 
advertising  man  originated  a  serialized  idea  which  was  sufficiently 
strong,  pictorially,  to  compel  the  public  to  take  a  spirited  interest 
in  a  prosaic  theme.  Do  the  unusual,  the  imoxpectcd,  and  you 
are  certain  to  attract  attention.     But  do  it  wisely  and  with  the 


THE  ATTENTION-COMPELLING  THEME  181 

justification  that  there  may  flareback  no  fecUng  on  the  public's 
part  that  it  has  been  hoodwinked. 

Select  a  product  such  as  toothpaste.  Twenty  years  ago,  the 
manufacturer  would  not  have  departed  to  any  considerable 
degree  from  illustrations  which  were  looked  upon  as  adequate  in 
that  day.  There  might  be  the  reproduction  of  the  package,  a 
still-life  study  of  a  characteristic  washstand,  or  illustrations  in 
countless  numbers  of  grownups  and  youngsters  brushing  their 
teeth.  Repeated,  year  in  and  year  out,  the  monotony  of  such 
themes  inevitably  consumed  their  own  vitality.  They  became 
a  story  too  old. 

Today,  the  advertiser  of  a  tooth  paste,  knowing  that  the 
pubhc  is  rather  "fed  up"  on  the  subject  and  unwilling  to  investi- 
gate every  campaign  which  comes  along,  strategically  searches 
for  the  unconventional  in  illustrations,  in  order  to  arouse  an 
arbitrary  interest  in  his  tooth-paste. 

Animals  and  primitive  savages  are  known  to  have  superior 
teeth;  in  any  event,  so  the  tradition  runs.  But  then  they  are 
not  subject  to  civilization's  ways  of  eating  and  living.  There  is 
a  copy  tie-up.  The  bathroom  scenes  and  the  still-life  stupid- 
ities are  avoided,  and  instead  stirring  pictures  of  a  tiger,  a  lion, 
or  the  character  study  of  an  African  chief,  with  a  back-ground  of 
palms. 

If  the  campaign  is  approached  from  another  angle,  the  picture 
may  be  of  dinner  tables,  starting  in  the  foreground  of  the  com- 
position and  reaching  into  the  distance  until  they  disappear  on 
the  horizon.  What  has  such  an  illustration  to  do  with  tooth 
paste.     The  advertiser  is  prepared  for  the  question: 

The  meals  of  yesteryear — what  have  they  done  to  your  teeth  and 
gums?  This  soft  food  of  ours,  appetizing  and  delightful  to  the  palate, 
does  not  give  our  gums  the  stimulation  that  rougher  coarser  food  once 
gave.  And  the  food  we  eat  has  a  great  effect  upon  the  condition  of  our 
teeth. 

Another  advertiser  bases  his  copy  upon  the  motor  car  engines 
failing  to  work,  when  there  is  gasoline  trouble.  A  few  lines  of 
the  text  will  assist  in  visualizing  the  picture  problem:  ''When 
your  carburetor  needle  valves  is  clogged,  your  perfectly  good 
motor  begins  sputtering  and  bucking." 

An  illustration  of  a  motorist  fussing  with  the  choker  and  other- 
wise disgruntled  over  the  way  the  engine  is  behaving  would  be 
passive.     A  picture  of  the  device,  a  clarifier  of  gasoline,  would  be 


182  ILLUSTRATION  IN  ADVERTISING 

even  less  interesting.  How  can  the  prospect  be  urged  into 
reading  through  the  lengthy  discourse,  when  the  subject  is 
lacking  is  so  many  essentials  of  the  advertising  interest  of  the 
thoroughly  modern  and  necessary  type?  An  artist  with  vision 
accomplishes  it  dramatically. 

And  the  headline,  "When  Your  Motor  Turns  Broncho"  dove- 
tails to  perfection  with  the  illustration.  A  motorist  is  lifting 
the  hood  of  the  car,  none  too  pleased.  In  ghost-technique,  a 
mere  shadow  against  white  paper  and  fading  into  the  detail  of 
the  engine,  is  the  striking  study  of  a  cowboy  on  a  bucking  broncho. 
The  broncho's  head  is  lowered,  its  heels  are  in  the  air.  It  is 
raising  the  "dickens  of  a  fuss."  The  rider  must  watch  himself 
or  be  thrown. 

Here  is  a  thoroughly  admirable  illustrative  attention- compeller, 
packed  with  life,  zest,  and  an  imaginative  quality,  different  in 
every  respect  from  the  average  of  advertising  illustrations  and 
sufficiently  unconventional  to  arrest  the  lazy  mind  and  eye. 
All  the  while,  the  relation  to  the  subject  is  legitimate. 

A  few  3'ears  ago,  no  manufacturer  of  wrought-iron  pipe  would 
have  thought  of  spending  hundreds  of  thousands  of  dollars  in  an 
attempt  to  interest  the  average  citizen  in  a  subject  so  far  removed 
from  his  general  trend  of  thought  and  contact.  In  this  adver- 
tising generation,  everything  is  made  "  advertisable "  through 
the  brilliant  association  of  ideas.  And  the  illustrations  used  have 
much  to  do  with  the  ever-increasing  success  of  these  remarkable 
campaigns.  In  a  sense,  they  make  the  advertising  irresistible, 
by  arousing  the  keenest  possible  curiosity. 

There  are  object  lessons  in  such  campaigns  as  the  following, 
a  characteristic  illustration  selected  from  each  campaign  to 
designate  how  shrewdly  the  problems  have  been  handled: 

Scenario  Plot  for  Picture:  Bitterly  cold  winter  day.  Foreground:  man, 
well  muffled  (average  home  owner)  desperately  shoveling  coal  into  furnace. 
But  the  furnace  is  standing  right  out  in  yard,  surrounded  by  snow.  Over- 
head pipes  run  from  it  to  the  cottage  in  the  distance.  Incongruous  repre- 
sentation in  every  way  and  made  purposely  so.  Headline  suggestion:  "An 
Outdoor  Heating  System — is  yours  one?"  Copy  lead:  "You  are  very 
much  like  the  man  in  the  cartoon  above  trying  to  heat  all  outdoors  if  you 
allow  the  heat  from  your  fuel  to  get  away  before  it  reaches  the  rooms  you 
want  to  warm."  Article  advertised:  Asbestos  covering,  insulation,  for 
heating  jjipes. 

Scenario  Plot  for  Picture:  Brow  of  steep  hill.  On  either  side,  giant  feet 
and  legs  of  a  human  figure,  taking  immeasurably  large  strides.    Between  the 


THE  ATTENTION-COMPELLING  THEME 


183 


two  heroic  feet,  automobile  casilj'  and  gracefully  speeding  up  the  hill.  Cap- 
tion: "The  powerful  Paige  walks  up-hill  in  high."  Point  to  be  put  over  is 
that  this  automobile  possesses  much  reserve  power. 

Scenario  Plot  for  I'icture:  A  typical  business  office.  Many  men  working 
at  desks.  Through  the  office,  criss-crossing,  dominant,  incongruously 
placed,  immense  pipe  trunk  lines.  They  join  up  with  waste  paper  baskets 
at  every  desk.  Men  shown  thrusting  paper,  letters,  booklets  into  them. 
Pipe  line  terminates  in  large  display  in  fore-ground,  where  waste  paper  is 
whirling  into  a  very  much  larger  basket.  Headline:  "Watch  your  oflSce 
exhaust.  An  ounce  of  inspection  may  save  you  tons  of  paper."  Objective  of 
advertisement:  To  convey  the  idea  that:  "Beside  each  desk  in  your  office 


Watch  voiir  office  exhaust 


-T?ic  Powerful  /\n>c  Wcilki  Up-hill  in  tii0i 


MmiUusIioiSIu 


PAIGE 


Fig.  113. 

Left. — No  office  ever  claimed  such  an  astonishing  contraption  as  is  hero 
pictured,  but  the  advertiser  draws  reader  interest,  and  arouses  his  curiosity  by 
an  exceedingly  novel  scheme.  The  commonplace  is  made  uncommonplace  by 
an  art  "trick." 

Right. — -The  picture  of  an  automobile  racing  up  a  hill  would  be  ordinary  as 
compared  with  this  dual  visualization  of  an  idea.  The  suggestion  is  immedi- 
ately put  over  that  the  car  in  question  can  "walk"  up  a  hill — with  plenty  of 
power  to  spare. 


stands  a  waste  basket.  Empty  every  morning;  emptied  every  night. 
Waste  baskets  live  on  paper.  Some  of  them  lead  a  normal  existence.  But 
in  the  office  where  paper  is  bought  in  a  haphazard  manner,  purely  on  a  price 
basis,  waste  baskets  live  in  perpetual  plenty."  Product  advertised:  Busi- 
ness stationery.     Argument  against  waste. 

Scenario  Plot  for  Picture:  Faint,  hazy  background  of  coal  production 
plant.     Square  mortise,  with  dark  tone  to  set  off  large  piece  of  white  coal. 


184  ILLUSTRATION  IN  ADVERTISING 

Caption:  "If  Coal  Were  White."  Copy  idea:  "If  the  part  of  coal 
that  bums  were  white  and  the  part  that  cannot  be  burned  were  black,  you 
would  realize  what  clean  coal  means.  At  a  glance  30U  would  see  what  a 
waste  of  money  and  energj-  it  is  to  pay  freight  charges  on  coal  full  of  undesir- 
able impurities  and  how  expensive  poor  coal  is."  Product  advertised: 
Consolidated  Coal. 

These  examples,  with  their  unusual  illustrations,  suggest 
the  wide  possibilities  of  pictures  which  are  attention  compellers, 
when  linked  with  a  sound  basic  selling  idea  and  an  agreeable 
headline.  But  such  methods  are  rather  drab  advertising  sub- 
jects made  into  intenselv  interesting  "reader  copy." 


CHAPTER  XXIII 
SUGGESTING  THE  PRODUCT  BY  INFERENCE 

It  is  by  no  means  always  necessary  to  picture  the  thing 
advertised.  Although  it  would  appear  that  one  of  the  first 
principles  of  a  thoroughly  practical  commercial  picture  is  to 
reproduce  the  product,  there  can  be  no  fixed  rule  in  this  regard, 
nor  should  there  be,  in  view  of  the  continuous  stream  of  cam- 
paigns which  the  public  is  expected  to  digest. 

The  service  performed  by  a  product  is  as  illuminative  as  any 
picture  of  it.  Then  again,  there  are  serious  business  reasons 
why  no  definite  article  can  be  represented.  There  are  several 
imposing  campaigns  on  the  subject  of  automobile  bodies.  Page 
space  is  used,  and  the  illustrations  are  costly  and  beautiful,  but  no 
car  is  ever  shown.  The  entire  atmosphere  of  these  campaigns  is 
created  by  inference.  Discrimination  is  woven  into  attractive 
compositions,  which,  while  suggesting  that  people  are  just  going 
somewhere  in  automobiles  or  are  coming  from  them,  but  the 
manufacturer's  do  not  find  it  necessary  to  picture  any  one 
machine.  Because  he  makes  bodies  for  many  different  cars,  it 
would  be  somewhat  unjust  to  the  others  to  select  any  one  and. 
feature  it  in  an  illustration. 

A  concrete  example  is  selected  from  the  year's  advertising 
schedule  of  Fisher  Bodies:  Set  into  an  elaborate  and  artis- 
tic decorative  border,  which  is  nicely  calculated  to  suggest 
*'  class  atmosphere,"  is  an  illustration  of  a  charming  young  woman 
on  horseback.  Her  companion  is  leading  up  another  horse, 
and  the  faint  hint  of  a  grandstand  in  the  background  indicates 
that  it  is  an  exhibition  affair  at  some  exclusive  driving  and  riding 
club.  There  is  no  automobile  in  sight.  That  such  persons  would 
attend  the  show  in  their  cars  coming  from  long  distances  is  under- 
stood. But  the  advertiser  desires,  first  and  foremost,  to  surround 
his  product  and  its  name  with  a  cloak  of  aristocracy.  The  reader 
inevitably  receives  the  impression  that  Fisher  bodies  are  the 
choice  of  those  who  know  and  who  are  always  accustomed  to 
the  very  best, 

185 


186 


ILLUSTRATION  IN  ADVERTISING 


MOTORS 


A 


^ 


fv 


t.-.-      


Fig.   114. 

Upper  Left. — Someone  is  expected.  There  is  excitoniont  in  the  air,  as  .1  skil- 
fully portrayed  scene  is  featured  in  a  story  roquiriiifz;  no  view  of  a  motor  car. 

Upper  Right. — Somewhere,  out  of  the  picture,  standing  patiently  at  a  farmhouse 
door,  is  the  automobile  which  brought  the  doctor  to  the  home  during  an  emer- 
gency. 

Lower  Left. — There  was  no  real  need  to  scatter  spectacles  and  eyeglasses  all 
over  this  page,  in  order  to  deliver  the  advertiser's  message.  A  biblical  phrase: 
"0   foolish   people,    that  have   eyes  and  see  not,"  serves  as  text 

Lower  Rioftl. — A  fair  share  of  the  now  famous  Fisher  Hodies  illustrations  have 
studiously  avoided  .showing  a  motor  car  and  therefore  the  product  manufactured. 
Yet  they  suffer  not  at  all,  conimcrcially,  for  the  campaign  has  succeeded  in  link- 
ing the  name  with  class  atmosphere,  and  the  pedigreed  user. 


SUGGESTING  THE  PRODUCT  BY  INFERENCE  187 

A  campaign  in  behalf  of  the  Dodge  autniobile  attracted 
unusual  attention,  because,  almost  for  the  first  time  in  the  history 
of  advertising  a  product  of  this  kind,  the  car  itself  was  seldom 
shown.  Something,  however,  in  every  human  interest  picture 
automatically  made  the  reader  think  in  terms  of  the  car.  An 
old-fashioned  home  parlor,  such  as  is  in  the  average  rural  house 
in  the  farming  area,  suggests  the  coming  of  guests. 

A  dainty  old  lady  stands  with  plate  in  hand  looking  from  the 
window.  An  old  man,  his  face  all  smiles,  is  just  in  the  act  of 
pushing  a  baby's  high  chair  up  to  the  partly  set  table. 

But  there  is  not  a  word  in  the  text  of  the  advertisement  regard- 
ing his  intensely  human  and  sentimental  illustration.  The  copy 
man  proceeds  in  a  thoroughly  business-like  fashion  to  describe 
why  the  Dodge  car  gives  dependable  service.  He  insists  that 
the  picture  is  a  complete  unit  in  itself.  It  requires  no  explana- 
tion. The  story  is  all  there- — a  story  of  the  loved  ones  of  the 
younger  generation  who  are  motoring  out  to  the  farm  for  a  week- 
end, in  a  car  that  will  surely  arrive  on  time,  with  never  a  mishap. 

This  type  of  illustration  which  shows  the  product  by  infer- 
ence only  has  become  popular  because  it  makes  it  possible  for  an 
advertiser  to  swing  widely  away  from  the  expected.  It  admits 
of  a  new  campaign  idea.  And  this  of  course  is  periodically 
desirable. 

Looking  back  over  the  advertising  years  of  The  American 
Radiator  Company,  it  would  be  possible  to  find  thousands  of 
illustrations  in  which  the  product  dominated  absolutely.  More 
recently,  the  experiment  was  tried  of  omitting  radiators  and 
boilers,  intermittently,  where  copy  ideas  made  it  allowable. 
Yet  there  has  been  no  lack  of  selling  sense  and  no  let  down  in 
responsibilities  of  any  campaign  to  the  cash  drawer. 

Two  instances  may  be  cited  to  show  the  method  employed  and 
to  demonstrate  just  how  picture  and  text  must  work  in  perfect 
harmony. 

An  illustration  shows  a  dinner  table  scene,  with  father,  mother, 
and  two  children  gathered  about,  doing  their  best  to  eat  the  meal. 
Their  expressions  indicate  that  it  is  unpalatable.  The  small 
boy  is  frowning;  the  father  holds  his  napkin  to  his  mouth.  There 
is  a  tiny  insert  of  the  wife  throwing  this  food  away.  There  is 
no  radiator,  or  boiler  in  sight. 

The  copy  writer  says:  "Suppose  your  cook  stove  spoiled  one- 
third  of  your  food!" 


188 


ILLUSTRATION  IN  ADVERTISING 


It  is  a  daFi'ng  and  startling  statement,  and  one  well  calculated 
to  compel  the  reader  to  continue: 

You  wouldn't  hesitate  to  get  rid  of  it.  The  cost  of  the  waste  food 
would  soon  equal  the  cost  of  a  good  stove.  Keeping  the  old  one  would 
be  short-sighted  economy. 

Yet  you  may  be  making  a  mistake  in  your  cellar  which  you  could  not 
make  in  your  kitchen.     For  if  you  have  an  old-fashioned  heater,  it  is 


Fig.  115. 

Upper. — The  advertiser,  through  research,  found  that  a  certain  famous  old 
piece  of  artillery,  dating  back  to  1489  was  still  in  perfect  condition  because  of  the 
fact  that  it  was  made  of  wrought  iron.  Is  this  picture  not  better  and  more 
interesting  than  a  reproduction  of  some  piping? 

Left. — Two  American  Radiator  compositions  in  which  the  product  itself  plays 
no  part  in  the  main  illustration.  The  copy  idea  is  sufficiently  picturesque  and 
important  to  make  up  for  its  absence. 

Right. — No  actual  picture  of  the  product  here  but  the  illustration  most 
assuredly  causes  the  reader  to  think  in  terms  of  heating  plants. 


probably  wasting  at  least  one-third  of  your  coal.  Coal  is  high;  a  one- 
third  saving  is  quite  an  item;  over  a  period  of  years  it  would  pay  for  a 
modern  boiler  several  times. 


SUGGESTING  THE  PRODUCT  BY  INFERENCE  189 

The  advertiser  has  told  a  compelling  story  illustrated  with 
the  type  of  picture  which  attracts  the  greatest  number;  and  no 
actual  product  has  been  introduced. 

An  article  is  advertised  by  showing  a  gloomy  cellar  with  a 
pile  of  coal  reaching  to  the  ceiling,  and  spreading  out  in  every 
direction.  A  sign  thrust  into  it  says  that  here  are  750  tons  of 
coal.  A  small,  startled  man,  shovel  in  hand,  stands  looking  up 
aghast  at  this  immense  and  impressive  sight.  The  headline 
explains  everything:  "The  coal  he  shoveled  in  30  years — a  true 
bedtime  story  for  Fathers." 

There  follows  a  shrewd  narrative,  taken  from  real  life,  of  a 
man  in  Evanstown,  Illinois,  who  did  some  figuring,  which  inspired 
the  picture  described.  The  illustration  is  in  every  sense  a  wise 
and  permissible  advertising  argument  in  behalf  of  American 
radiators,  despite  the  fact  that  the  product  itself  is  not  reproduced. 

A  national  advertiser  of  hosiery  deliberately  selected  a  slogan 
which  would  permit  him  to  get  away  from  the  sameness  of  the 
inevitable  hosiery  illustration.  This  phrase  was:  "You  just 
know  she  wears  them,"  and  it  has  become  a  popular  saying 
everywhere.  The  embellishment  of  the  campaign  sought  not  to 
disclose  stockings  at  all. 

A  vigorous  campaign  for  General  Motors  eliminated  the  pictur- 
izing  of  cars  or  power  plants.  The  advertising  was  none  the 
less  effective;  in  fact,  it  has  been  generally  conceded  that  the 
campaign  has  been  phenomenally  successful. 

A  characteristic  picture  is  of  a  country  physician  who  has  just 
arrived  and  is  bending  over  a  sick  child.  An  anxious  mother, 
with  the  light  of  fear  in  her  eyes,  glances  across  at  the  doctor. 
Will  he  have  come  in  time  to  save  the  little  life.  The  artist 
hints  that  this  will  be  the  case.  But  what  has  this  to  do  with 
General  Motors,  motor  cars,  and  automobile  engines?  Every- 
thing. For  it  is  brought  out  that  before  the  coming  of  depend- 
able motor  cars,  country  doctors  were  compelled  to  travel 
behind  a  slow-going  horse,  in  a  buggy,  which  faced  the  night 
roads  with  but  poor  results.  Hours  and  hours  were  required  to 
traverse  short  distances  and  people  who  lived  on  farms  and  other 
remote  places  were  entirely  dependent,  in  times  of  emergency, 
upon  just  such  crude  modes  of  travel.  The  country  doctor  often 
arrived  too  late.  But  now,  with  the  motor  car,  all  that  has  been 
changed.  The  long  distances  and  the  rough  roads  hold  no  terrors. 
It  is  a  really  magnificent  indirect  appeal,  and  more  ruggedly 


190  ILLUSTRATION  IN  ADVERTISIXG 

impressive  because  it  is  not  illustrated  conventionally  with  a 
picture  of  a  doctor  in  an  automobile. 

An  idea  connected  with  a  product,  a  comparison,  or  a  parallel 
may  be  more  important,  as  illustrative  material,  than  the  prod- 
uct itself,  particularly  if  it  happens  that  the  product  is  like  a 
hundred  others  or  is  not  interesting  or  unusual  to  the  eye. 

Piping  might  come  under  this  classification,  with  no  audience 
waiting  hungrily  for  a  message  on  the  subject.  An  audience 
would,  however,  find  interest  in  a  dominant  illustration  of  a 
wonderful  old  cannon,  facing  out  over  plains  and  hills,  from  its 
position  in  a  crumbling  fortress.  This  is  ''  Mons  Meg,"  a  monster 
gun  named  after  Queen  Margaret,  of  Scotland.  It  received  its 
baptism  of  fire  during  the  siege  of  Dumbarton  in  1489.  The 
advertiser  saj^s  of  it,  as  justification  for  such  an  unusual  picture 
in  an  advertisement  for  piping: 

This  ancient  piece  of  artillery,  made  of  wrought-iron  bars,  bound  like 
a  barrel  with  hoops  of  the  same  material,  may  be  seen  today  at  Edin- 
burgh Castle.  Unprotected  by  grease  or  paint,  it  has  braved  all 
weathers  for  four  hundred  years,  and  its  surface  is  hardly  pitted. 
Remarkable?     Not  when  j^ou  remember  that  it  is  made  of  wrought  iron. 

There  is  a  smaller  scene  of  a  great  modern  building,  in  which 
wrought-iron  piping  has  been  used  throughout.  The  product 
itself  is  not  pictured  and  is  not  missed,  because  the  story  is 
dominant. 

Because  advertising  art  is  so  interlocked  with  the  text  which 
accompanies  it,  the  two  must  be  mentioned  in  any  discussion  of 
the  relative  merits  of  different  methods.  Thus  this  message 
concerning  Wellsworth  products  (optical  goods)  automatically 
visualizes  the  illustration  used: 

Out  of  the  mists  of  the  past  flashes  the  warning:  "0  foolish  people, 
that  have  eyes  and  see  not."  More  than  twenty-five  centuries  have 
rolled  by  since  Jeremiah,  on  a  hillside  in  Judea,  uttered  this  searching 
phrase.  Its  meaning,  of  course,  was  a  spiritual  one;  yet  maj'  we  not  apply 
these  words  to  a  condition  which  exists  today?  What  could  better 
describe  the  unconscious  victims  of  our  own  age  of  cj'cstrain,  with  its  fine 
print  books,  glaring  artificial  lights,  and  flickering  motion  pictures. 

The  headline  reads:  "Was  Jeremiah  speaking  to  you?"  The 
illustration  is  a  masterfully  conceived  view  of  the  venerable 
Jeremiah,  on  the  hillside,  speaking  to  the  multitudes  at  his  feet. 
Yet  there  is  no  reproduction  of  optical  goods. 


SUGGESTING  THE  PRODUCT  BY  INFERENCE  191 

The  fact  that  a  certain  brand  of  coffee  was  taken,  in  bulk,  by  a 
noted  explorer  and  adventurer,  on  his  notable  cruise  around 
the  world,  is  of  greater  news  and  advertising  moment  than  any 
coffee  pot  brand  of  picture  or  prosaic  after-dinner  composition. 
The  picturesque  and  romantic  outlines  of  a  sturdy  three-masted 
schooner  invites  the  imagination  to  do  the  rest.  If  the  owner  and 
the  captain  and  his  crew  preferred  this  coffee  to  all  others,  it 
would  necessarily  be  the  coffee  for  the  average  person's  table. 

Suggesting  the  picture  of  the  product  or  of  its  service,  by  infer- 
ence only,  has  given  to  advertising  many  of  its  most  interesting 
campaigns. 


CHAPTER  XXIV 
NEGATIVE  ILLUSTRATIONS 

There  was,  at  one  time,  a  prejudice  against  what  is  known  as 
the  "negative"  iUustration.  This  prejudice  has,  to  a  consider- 
able extent,  disappeared,  for  it  is  more  generally  acknowledged 
that  advertising  should  be  instructive,  and  that  certain  products 
have  as  their  sole  reason  for  existence  a  safeguarding  of  human 
life,  or  a  check  on  carelessness.  The  chief  objection  to  negative 
advertising  was  that  it  presented  disagreeable,  alarming,  and 
sometimes  rather  repulsive  suggestions,  and  that,  in  consequence 
of  this,  certain  lines  of  business  and  certain  products  were  pre- 
sented in  a  damaging  light. 

The  manufacturer  of  tire  chains  for  automobiles,  used  pictures 
of  accidents,  of  death,  of  extreme  peril,  occasioned  by  laxity,  when 
motor  cars  skidded  under  conditions  which  were  favorable  to 
such  perils  of  the  open  road.  Thousands  of  letters  of  protest 
were  received  by  this  manufacturer.  But  the  majority  of  them 
came  from  advertising  men  and  students  of  advertising  who  had 
as  yet  failed  to  investigate  the  psychology  of  this  type  of  appeal. 

It  was  pointed  out  that  the  illustration  of  horror  would  keep 
people  from  buying  cars.  It  was  advertising  which  would  prove 
bad  for  business.  It  brought  up  mental  dramas  opposed  to  the 
regular  flow  of  sales.  If  advertising  could  not  be  cheerful  and 
altogether  optimistic,  it  should  not  be  used.  There  was  enough 
of  the  unpleasant  in  the  world,  without  recourse  to  scenes  of 
danger  and  of  accident. 

So  firmly  entrenched  was  this  theory  that  debates  were  staged 
in  many  advertising  journals,  and  correspondents  demanded  that 
the  practice  cease.  It  would  be  as  consistent  to  ask  plays  to 
reflect  only  the  Pollyanna  atmosphere,  and  books  forever  to 
preach  the  doctrine  of  Little  Rollo.  There  are  more  negative 
campaigns  than  ever  and  they  are  more  strenously  urged.  The 
sale  of  automobiles  was  contaminated  in  no  way  by  the  adver- 
tising of  the  safety  chain  manufacturer,  who  truthfully  pictured 
and  described  what  might  take  place  if  certain  wise  precautions 

192 


NEGATIVE  ILLUSTRATIONS  193 

were  not  taken.  Why  dodge  issues  which  are  obvious  and 
uncontrovertible  ? 

But  it  must  be  admitted  that  negative  ilhistrations  and  nega- 
tive copy  should  be  avoided  where  they  do  not,  from  every  stand- 
point, harmonize  with  the  logical  objective  of  the  product.  It 
should  not  be  dragged  in  for  no  better  reason  than  to  provide 
sensational  and  melodramatic  interest. 

Many  advertised  products  have  no  excuse  for  negative  adver- 
tising. That  advertising,  wherever  possible,  should  reflect  the 
happier,  constructive,  educational,  and  pleasing  echoes  of  life 
and  of  service  is  not  to  be  questioned.  People  are  not  drawn 
to  that  which  is  unpleasant.  Lecturing  and  sermonizing  repels, 
if  either  are  not  firmly  grounded  in  everyday  human  experi- 
ence. There  must  be  an  unusually  valid  reason  to  frighten  a 
prospect  into  doing  something.  The  purposes  of  this  chapter 
will  doubtless  be  best  served  by  giving  some  concrete  instances 
of  the  quite  proper  use  of  the  negative  appeal. 

An  advertiser,  incidentally,  may  ask  himself  certain  pointed 
questions  which  prove  up  the  problem.     Some  of  these  are: 

Will  my  product,  if  used,  prevent  serious  accidents  ? 

Will  my  product,  under  certain  circumstances,  save  life,  by  the  service  it 
performs? 

Is  my  product  one  which  will  safeguard  the  individual  from  the  fruits  of 
his  own  folly  or  negligence? 

Will  what  I  say,  in  a  negative  mood,  work  for  a  more  thoughtful  consider- 
ation of  danger  and  what  leads  up  to  it? 

Is  my  product  one  which  does  its  service  in  the  direct  presence  of  scenes  of 
danger  and  alarm? 

If  my  product  is  not  used,  is  it  logical  to  assume  that  an  individual  may  be 
liable  to  accident? 

It  has  come  to  pass  that  any  number  of  products  are  now  manu- 
factured which  are  interrelated  with  fire  prevention,  the  avoidance 
of  unnecessary  risks,  even  the  positive  guarantee  of  protection 
from  certain  pitfalls  of  human  peril.  For  advertisers  in  this 
classification  to  preach  only  the  affirmative  would  represent  an 
unfair  and  an  illogical  handicap.  Their  most  virile  line  of  attack 
is  opposition  to  neglect,  and  their  most  significant  weapon  is 
reminding  the  negligent  of  the  thing  which  they  are  thoughtlessly 
doing. 

Today  that  a  vast  number  of  persons  must  be  startled  into 
doing  what  is  right  and  wise  and  best  calls  for  the  extraordinary 
appeal.     Persons  are  impervious  to  moderate  arguments.     They 


194 


ILLUSTRATION  IN  ADVERTISING 


are  responsive  only  to  the  sharp  checkrein  of  dramatic  warning. 
They  act  only  when  they  are  made  to  see  what  may  happen  to 
them.  The  railroads  of  the  country  are  fully  aware  of  this. 
The  only  effective  mediums  of  education,  where  automobilists 
and  road  crossings  are  concerned,  for  example,  have  been  caustic, 
unrelenting,  and  lurid  with  menace.  Logic  and  quiet  warning 
was  tried  first,  and  found  to  be  unavailing. 

A  conspicuously  successful  series,  long  continued  and  based 
almost  entirely  upon  the  vigorously  negative  in  illustration,  has 


Fig.  116. — The  commercial  phases  of  a  product  told  in  an  uncommercial  spirit 
gives  greatly  added  zest  to  an  advertising  campaign.  Picturing  familiar  inci- 
dents, where  the  reader  unconsciously  inlays  a  part,  is  powerful  sales  doctrine. 
But  they  are  effective  only  when  skilfully  and  truthfully  portrayed. 


been  conducted  in  behalf  of  a  storage  battery  for  automobiles. 
This  advertiser  contends,  and  not  without  justification,  that 
because  the  battery  is  the  life  of  the  car,  regulating  not  only  its 
running  but  also  its  starting,  emergencies  are  apt  to  arise  which 
mean  life  or  death.  But  in  order  to  further  validate  this,  the 
advertisements  were  prepared  from  and  inspired  by  experiences, 
written  by  motorists. 

A  characteristic  illustration  portrays  a  railroad  crossing.  An 
automobile  has  been  stalled  on  the  tracks.  A  train  is  rapidly 
approaching  and  will  smash  the  car  to  bits  in  another  second. 
A  man  is  shown  helping  his  wife  from  the  front  seat.     It  is  a 


NEGATIVE  ILLUSTRATIONS  195 

tense,  terrif^ang  situation,  and  the  picture  so  successfully  rendered, 
that  it  leaves  the  pulse  quickened  and  the  blood  chill. 
Beneath  this  picture  the  following  text  is  run : 

...  I  heard  the  whistle  of  a  train.  In  an  effort  to  spurt  the  car 
forward  I  stalled  the  engine  and  the  car  stopped  on  the  tracks.  The 
train  was  coming  rapidly,  shrieking  violent  warning.  I  left  the  engine  in 
high  gear  and  stepped  on  the  starter.  But  my  battery  failed.  We 
escaped,  but  the  car  was  smashed  to  smithereens! 

This  may  not  be  a  common  accident,  but  it  is  one  which  might 
easily  happen  to  any  motorist.  Similar  chronicles  appear 
almost  daily  in  the  public  press. 

Also  based  on  fact  and  vouched  for  by  the  correspondent  is 
the  following  dramatic  incident: 

With  our  old  battery  gone  "West" — a  twelve-foot  wall  of  water  thun- 
dering down  on  us — we  left  the  car  and  ran  for  our  lives.  Our  battery 
was  gone ;  therefore  our  car  was  gone. 

There  could  be  no  more  stirring  picture  than  the  one  which 
accompanied  this  text,  yet  it  was  100  per  cent  negative.  A 
narrow  gorge  between  two  high  walls  of  ragged  granite  and  clay, 
up  which  it  would  be  difficult  to  clamber.  The  driver,  without 
being  conscious  of  it,  had  been  traveling  up  a  dry  river  bed  in  the 
west  Texas  territory.  But  the  flood  waters  from  surrounding 
mountains  had  broken  loose  and  were  sluicing  down  the  make-shift 
highway.  The  flood  could  be  seen  in  the  distance,  racing  nearer 
and  carrying  boulders  and  trees  on  its  angry  breast.  A  mother 
and  child  were  frantically  endeavoring  to  climb  out  of  harm's 
way  up  the  steep  bank.  The  father,  having  failed  to  crank  the 
car,  sees  that  seconds  will  decide  his  own  fate  and  the  fate  of  his 
family.  Although  the  picture  is  negative,  through  and  through,  it 
is  constructively  and  sanely  so.  The  entire  series,  all  constructed 
along  the  same  general  lines,  is  a  conscientious  effort  to  protect 
people  from  their  own  short-sightedness  and  neglect.  Such 
negative  advertising  must  be  looked  upon  as  ethical  and  legitimate. 
A  life  insurance  company  in  a  series,  frankly  sets  out  to  picture 
accident,  death,  or  sudden  catastrophe.  Its  arguments  are  cut 
from  the  negative  bolt.  Stirring  action,  feverish  anxiety  and 
the  throb  and  beat  of  daily  tragedy,  run  rampant  through  copy 
and  illustrations.  An  excited  citizen  rushes  to  the  nearest 
policeman.     A  crowd  is  gathering.     And  the  text  reads: 

Quick! — an  automobile  accident!  Years  of  careful  driving.  .  .  A 
growing  sense  of  immunity  from  loss   .    .    .   then  it  happened.    "Quick! 


196 


ILL  USTRA  TION  IN  A  D  VKR  T I  SING 


an  automobile  accident!"     Tragedy  is  in  that  frenzied  cry,  for  somebody 
is  badly  hurt.     Then  a  quick  run  to  the  hospital  .    .    .  doctors  .    .    . 
nurses   .    .    .   weeks  of  suffering   .    .    .   and  a  suit  for  damage! 


Fig.  117. — Three  characteristic  illustrations  for  The  Aetna  Iiisurannc  Com- 
pany, all  highly  negative,  all  swift,  stirring  in  action,  and  all  presenting  the 
uni)lcasant  side  of  life.  But  their  mission  is  to  compel  thoughtfulness  and  to 
stir  people  out  of  lethargy. 

Such  catastrophies  the  public  has  seen  and  is  seeing  every 
day.  There  is  no  exaggeration.  People  know  their  truth  and 
finally  admit  the  advertising  logic  which  prompts  a  frank  state- 
ment of  fact  and  a  pica  for  more  common  sense.     There  is  a 


NEGA  TI  ]  'E  ILL  USTRA  TIONS 


197 


wholesome  tendency,  in  this  generation,  to  face  issues  bravely 
and  without  petty  covering  of  disagreeable  facts.  Fighting  is 
done  in  the  open.  Results  are  more  certain  when  gloves  are 
removed  and  the  job  tackled  bare-fisted.  The  application  of 
these  principles  to  advertising  is  as  permissible  as  it  is  beneficial. 
To  a  lesser  degree,  the  same  forces  have  made  the  people  want 
better  furniture,  better  homes,  and  better  food.  In  the  back- 
ground of  almost  every  advertising  campaign,  there  is  a  subtle 


Fig.   118. 

Upper. — Legitimately  negative.  The  little  housewife  is  completely  worn  out 
and  the  advertiser  argues  that  this  is  unnecessary.  She  could  save  herself  by 
using  better  household  methods.  It  is  a  scene  which  all  women  will  sympathet- 
ically recall. 

Lower. — Negative  in  every  line,  but  validated  by  the  story  the  advertiser  is 
desirous  of  telling.  A  wrong  is  to  be  corrected;  a  common  condition  relieved — 
weary  feet. 

hint  at  the  negative,  in  one  form  or  another.  Progress  is  stabi- 
lized and  advertising  is  bent  on  creating  either  fear  or  unrest, 
discontent  or  alarm. 

Needless  to  say,  because  of  its  inherent  ingredients,  the  nega- 
tive illustration  has  the  strongest  kind  of  appeal.  Such  illus- 
trations are  vibrant  with  action.  They  contain  the  quality  of 
suspense.  They  leave  the  prospect  questioning  himself.  They 
foster  personal  moralizing  and  reasoning.     They  dig  deep  and 


198 


ILLUSTRATIOX  IX  ADVERTISING 


sway  emotions.  And  in  many  instances,  they  are  constructed 
around  such  highly  melodramatic  scenarios  or  picture  plots 
that  they  are  irresistible  to  even  the  most  indifferent  reader. 
Melodrama  has  always  boasted  this  power  and  this  allurement. 
How  futile  it  would  be  to  tax  advertisers  of  certain  products 
with  the  extreme  rule  of  avoiding  the  negative.  Americans 
have  come  to  have  the  cleanest  teeth  in  the  world  in  part  because 
the  public  has  been  literally  frightened  by  the  perils  of  pyorrhea 
and  other  diseases  of  the  gums  and  teeth,  into  a  morning  and 
evening  measure  of  protection.     One  of  the  most  widely  adver- 


D 


on'l  be  quarantined  lo  city  pavings 

HAS3LER  SHOCK   ABSORBERS 

MAKE   BAD   ROADS   GOOD 


Fig.  119. 

Left. — Bad  roads  used  throughout  a  connected  series,  as  seen  by  any  motorist 
as  he  drives.  Negative,  surely,  but  the  reader  is  reminded  that  shock  absorbers 
minimize  the  effects  of  such  rough  going. 

Riff  fit.— The  idea  of  decay  made  into  an  unobjectionable  allegory;  a  once 
fine  home  disintegrating  from  neglect. 


tised  soaps  with  hygienic  properties  made  little  or  no  progress 
with  its  campaigns  until  it  began  to  picture  the  menace  of  the 
ever-present  germ.  True,  the  picture  of  a  man,  hand  in  the 
strap  of  a  street  car,  surrounded  by  uncouth,  unclean  persons, 
does  not  make  a  pleasant  illustration,  but  it  certainly  does  impel 
a  father  to  think  twice  on  the  subject  of  the  disease  germs  on 
his  hands  he  may  be  carrying  home  to  his  wife  and  children. 
Why  not  use  a  soap  to  clean  them  thoroughly? 


NEGATIVE  ILLUSTRATIONS 


199 


Is  a  manufacturer  of  fire-fighting  apparatus  not  permitted  to 
show  pictures  of  fire  and  the  liorrors  of  it? 

Brake  lining  for  automobiles  is  an  admirable  example  of  the 
type  of  product  which  depends  upon  the  negative  appeal.  Life 
actually  does  hang  on  a  brake.  Therefore  a  prominent  institu- 
tion depends  to  a  large  degree  upon  negative  pictures  of  unex- 
pected collisions,  bad  temper,  ruined  vehicles,  and  danger  to 
life  and  limb. 

And  this  is  sane  copy,  legitimate  copy,  from  which  to  draw  the 
meat  of  such  illustrations: 


lappened ! 


!-H  ■, 


"I  have  thie  worst  luck 
with  tires!" 


Fig.  120. 

Left. — A  wrecked  car — disaster,  property  loss  and  the  general  atmosphere  of 
serious  accident,  as  a  burning  car  rolls  down  hill.  It  is  a  scene  rather  common 
to  American  roads.  Pyrene,  an  automobile  fire-extinguisher,  has  a  perfect  right 
to  use  such  pictorial  ammunition  as  this. 

Right. — Nothing  very  pleasant  in  this  illustration — -suggestion  of  tire  trouble, 
expense  and  delay,  with  the  motorist  grumbling  over  his  ill-luck.  It  is  a  reminder 
that  it  is  his  own  fault.     Buy  a  tire  gauge  and  know  the  pressure  in  the  shoe. 


Look  over  your  morning  paper.  There  you  get  only  the  serious 
accidents,  involving  life  and  limb,  in  one  locality.  Think  of  all  the 
"might  have  been  serious"  smashes  for  the  whole  country!  One  a 
minute  is  a  conservative  estimate. 

A  maker  of  shock  absorbers  for  motor  cars  advertised  "Bad 
Roads"  for  a  year.     He  pictured  bad  roads  in  a  large,  dominant 


200  ILLUSTRATION  IN  ADVERTISING 

way  with  all  their  ruts,  boulders,  muddy  bog  holes,  hidden 
obstructions,  detours,  and  dangers. 

Yesterday,  many  would  have  contended  that  this  was  a  bad 
idea.  It  might  turn  people  away  from  motoring.  Nonsense! 
Just  so  long  as  negative  advertising  is  truthful,  normal,  and  within 
the  bounds  of  reason,  there  need  be  no  fear.  People  know  there 
are  bad  roads.  A  shock  absorber  is  a  solution.  And  the  series 
of  illustrations  merely  presented  a  truthful  picture  of  what  all 
motorists  have  seen  at  one  time  or  another. 

Will  there  be  less  automobile  tires  sold  because  the  advertiser 
of  a  tire  gage  uses  an  illustration  of  a  despondent  automobilist 
watching  a  garage  man  put  on  a  new  tire,  with  the  headline; 
"I  have  the  worst  luck  with  tires!"  The  illustration  merely 
points  out  that  tires  suffer  from  over  or  underpressure  of  infla- 
tion. The  negative  picture,  in  advertising,  can  be  made  one  of 
the  most  effective  of  human  correctives  aside  from  its  service  to 
the  product  it  exploits  and  amplifies. 


CHAPTER   XXV 
POSTER  VALUE  IN  THE  PICTURE 

There  are  times  when  an  advertisement  may  take  on  all  the 
characteristic  art  qualities  and  technique  of  poster  influence. 
Such  displays,  because  of  their  simple,  direct,  and  uncluttered 
layout,  plus  brevity  of  message,  are  virtually  outdoor  displays. 
This  similarity  is  strengthened  when  two  or  more  colors  can  be 
employed.  Certain  advertisers,  working  on  the  assumption 
that  the  volume  of  advertising  prohibits  individual  100  per 
cent  assimilation  strategically  adopt  messages  which  can  be 
absorbed  at  a  glance. 

The  marked  improvement  in  outdoor  posters  has  undeniably 
given  impetus  to  miniature  posters  for  magazine  and  newspaper 
use,  and  "those  who  run  may  read,"  indoors  as  well  as  out.  The 
poster  advertisement  must  possess  the  following  points: 

Bold  display  of  the  name. 

Flat,  unshaded  areas  of  color  or  black  and  white  tone. 

Art  treatment  without  fuss  and  furbelows. 

Exceedingly  simple  compositions. 

The  least  number  of  words  as  to  text. 

Uninvolved  figure  or  still-life  ideas. 

Simplicity  in  handling  throughout. 

Such  advertisements  can  be  seen  and  read  at  a  considerable 
distance.  If,  for  example,  someone  is  holding  up  a  magazine 
at  one  end  of  a  common  carrier,  the  advertisement  is  decipher- 
able in  its  essential  features,  from  the  opposite  end  of  the  car. 

It  appears  to  be  characteristic  of  their  use  that  poster  adver- 
tisements are  employed  as  a  breathing  space  between  intensely 
descriptive  campaigns  which  are,  of  necessity,  of  the  "reason 
why"  type,  and  therefore  somewhat  complex.  They  are  diplo- 
matic pauses,  made  during  the  dignified  course  of  a  series  which 
is  textually  extended.  Advertisers  deliberately  experiment  to 
the  extent  of  employing  much  reading  matter  and  numerous 
illustrations,  one  year,  and  the  most  simple  poster  displays  the 
year  following.     They  do  it  also  for  the  sake  of  variety. 

201 


202 


ILLUSTRATION  IX  ADVERTISING 


The  luxury  of  such  campaigns  is  not,  as  a  rule,  applicable  to 
newcomers  in  the  advertising  field.  When  a  product,  its  story, 
and  its  manufacturer  have  all  been  firmly  established  in  public 
consciousness,  then  the  poster  series  is  most  effective  and  less 
of  an  experiment  The  character  of  the  article  may  often  regu- 
late the  extent  to  which  this  principle  may  be  applied  including 
products  which  do  not  require  prolific  descriptions  and  major 
and  minor  illustrations.  Their  story  is  quickly  told  and  in 
simple  terms. 


Fig.  121. — Two  strong  colors,  red  and  black  with  variations,  were  employed 
in  these  originals,  page  size.  They  attempted  no  more  than  to  get  across  one 
dominant  idea  and  a  name.     The  art  spirit  is  in  the  poster  school  throughout. 


It  was  discovered,  in  the  case  of  Columbia  dry  batteries,  that, 
for  several  years,  the  spirit  of  poster  technique  would  be  superior 
to  verbose  analysis  and  technically  complex  pictures.  The 
utilitarian  uses  of  a  dry  battery  required  no  dissertation.  Nor 
could  even  the  most  gifted  and  imaginative  writer  long  continue 
to  build  imposing  word  structures  for  it.  But  there  were  ele- 
ments which  properly  deserved  to  occupy  the  attention  of  the 
advertising. 

These  points  summed  up  as  follows: 

A  dominating  display  of  the  name  Columbia. 

Bold  pictorial  effects  to  impress  both  consumer  and  dealer. 


POSTER  VALUE  IN  THE  PICTURE 


203 


Art  of  a  character  which  would  automatically  glorify  a  rather  modest 
product. 

The  use  of  a  second  color  as  a  practical  advertising  asset.  (The  Columbia 
Batteries  carry  a  distinguishing  red  label.) 

Advertising  art  gaged  to  make  a  deep  impression  on  the  memory. 

Displays  which  would  in  no  respect  resemble  any  other  campaign  for  a 
like  product. 

The  serialized  campaign,  poster  style,  wherein  one  use  of  tlie  batteries  at 
a  time  could  be  strategically  featured. 


Fig.  122. — A  simple  picture,  done  in  flat  color  tones,  and  with  very  little  reading 
matter,  as  the  composite  magazine  page.  The  poster  spirit  throughout.  The 
originals  were  in  two  colors  and  therefore  far  more  effective  than  here  shown. 


This  program  operated  admirably  for  the  very  reasons  which 
originally  inspired  it,  and  the  last  unit  mentioned  above  is  a 
significant  one:  no  attempt  was  made  to  tell  more  than  a  single 
story  of  one  use.  But  when  the  campaign  had  run  its  course, 
each  battery  use  had  been  covered,  without  complication  and 
without  distractions. 

If  the  subject  of  dry  cells  as  related  to  the  operation  of  bells 
and  buzzers  were  made  the  theme  of  a  poster  page,  the  artist 
narrowed  his  pictorial  horizon  to  a  businessman  pressing  a  button 
on  his  desk,  or  to  a  pleasingly  composed  study  of  a  Colonial 
doorway,  as  a  child,  on  tiptoes,  reached  toward  the  bell.  If 
the  use  of  the  battery  in  connection  with  tractors  became  the 
basic  appeal  of  a  design,  only  the  farm  implement  and  sufficient 


204  ILLUSTRATION  IN  ADVERTISING 

atmosphere  to  register  its  environment  found  way  to  paper. 
Of  text,  there  was  invariably  little,  although  words  were  chosen 
with  such  patient  care  that  their  brevity  made  swift,  brief 
phrases  eloquent. 

Something  in  the  distinctive  and  the  related  character  of  such 
a  series  presented  at  regular  intervals;  in  the  powerful  name  plate 
display  and  the  vivid  contrasts  of  red  and  black,  red  and  dark 
blue,  handled  in  flat  masses;  in  the  assurance  and  brutal  finality 
of  the  individual  advertisements  left  an  impression,  not  of  any 
single  message,  but  of  a  broad  campaign,  as  insistent  as  it  was 
striking.  Dealers  in  batteries  and  dry  cells  were  not  slow  to  clip 
these  poster  pages  from  magazines  and  put  them  to  work  in  their 
windows,  and  at  the  climax  of  each  series,  after  six  pages  had  been 
run,  the  advertiser  summarized  the  campaign  in  devoting  a 
page  to  the  six  reproductions  in  reduced  size. 

In  every  advertising  campaign  there  appears  to  be  some  one 
popular  note  which,  for  unexpected  and  unforeseen  reasons, 
pleases  the  popular  fancy.  It  may  be  some  apparently  insig- 
nificant detail,  with  embedded  advertising  strength.  Years 
ago,  for  instance,  in  the  drawing  of  illustrations  for  magazine 
and  newspaper  campaigns  for  Perfection  oil  heaters,  an  artist 
happened  to  place  a  contented  tabby  cat  near  the  heater.  This 
was  not  the  most  important  element  of  the  picture;  it  was  an 
incidental.  There  were  figures,  accessories,  and  human  interest 
in  the  same  composition.  But  the  picture  of  the  purring  kitten 
appealed  to  the  public  and  was  favorably  commented  upon 
everywhere.  Here  was  clever  visualization  of  warmth  and  of 
comfort.  And  as  the  consciousness  of  its  worth  became 
impressed  on  the  advertiser,  he  made  it  a  unit  in  almost  every 
advertising  illustration,  until  it  grew  to  the  proportions  of  an 
unofficial  trade  mark. 

What  was  more  natural,  then,  for  this  theme  to  be  raised  to 
the  dignity  of  a  dominating  note,  complete  in  itself?  And  the 
next  step  was  a  poster  page,  of  heater  and  cat,  imcluttered  by 
any  other  accessory.  The  advertiser  was  capitalizing  a  popular 
idea  in  the  simplest  form  imaginable,  the  poster. 

In  the  advertising  of  an  oil  used  for  shortening,  decorative 
edibles,  because  of  constant  repetition  in  a  poster  art  technique, 
became  a  characteristic  atmosphere  of  extensive  campaigns,  year 
after  year.  Berries  and  fruits,  which  enter  into  the  making  of 
such  pastries,  were  also  given  room  in  the  picture.     From  repre- 


POSTER  VALUE  IN  THE  PICTURE 


205 


sentations  in  black  and  white,  the  idea  suddenly  became  a  series 
of  highly  artistic  posters,  which  surrounded  the  product  with 
effective  and  altogether  pleasing  atmosphere. 


Fig.  123. — Four  simple  and  compelling  examples  of  the  poster  spirit  in  page- 
space  advertising,  with  the  illustrative  theme  to  the  fore. 

The  ramifications  in  this  class  are  many.  In  some  instances, 
a  poster  within  a  poster  is  used,  that  an  advertising  trade  mark  or 
an  advertising  character  may  be  given  a  new  lease  of  life  and 


206  ILLUSTRATION  IN  ADVERTISING 

possess  an  invigorated  appeal  to  the  jaded  public.  While  every- 
one might  be  familiar  with  the  "Time  to  re-tire"  pajama  boy,  so 
long  used  in  connection  with  Fisk  automobile  tires,  the  unvary- 
ing repetition  of  the  same  theme  might  well  grow  to  be  an  old 
story  to  its  market  and  lose  a  proportionate  amount  of  its  potency 
as  an  illustrative  feature. 

By  the  comparatively  simple  expedient  of  placing  a  poster 
within  a  poster,  the  original  trade  mark,  which  always  possessed 


Fig.   124. — This  page  was  run  in  full  color,  and  its  spirit  throughout  was  postery. 

poster  characteristics,  was  rejuvenated.  The  poster  or  painted 
sign  of  the  trade  mark  figure  was  utilized  as  one  unit  in  a  human 
interest  design.  Far  out  on  the  desert,  the  "Time  to  re-tire" 
poster  has  been  nailed  to  a  post.  A  pioneer  of  the  region,  on  his 
journey  across  trackless  miles,  his  burro  patiently  standing  at 
his  side,  has  stopped  to  study  the  quaint  poster.  And  the  sole 
reading  message  is  the  advertising  phrase,  accompanied  by  the 
name  of  the  company  and  its  address. 


POSTER  VALUE  IN  THE  PICTURE 


207 


The  unwritten  story,  suggested  by  inference,  is  plain.  Where- 
ever  one  may  go,  to  whatever  remote  outposts  of  civiUzation, 
there  the  Fisk  tire  is  known. 

Advertisers  of  clothing  for  men  have  long  employed  the  poster 
form  and  technique  in  advertising.  The  addition  of  a  second 
color  in  publications  which  can  carry  it,  heightens  the  effect. 
These  poster  campaigns,  it  should  be  emphasized,  are  part  of  a 
carefully  conceived  advertising  plan;  they  do  not  fulfil  every 
obHgation  of  a  publicity  campaign,  long  continued.     The  com- 


You  have 

them  in 

lyourhome 

~piJt  them 

on  your  Car 

Buj)  them     - 
the  kit  \ 


Some  things  Columbias  do  E  D  I   S  O  N  ^ 

AZDA 


Columbia 

Dry  Batteries 


AUTO  LAMPS 

A   GENERAL    ELECTRIC     PRODUCT 


Fig.  125. — The  Columbia  display  undertakes  to  reproduce  the  pages  for  the 
previous  six  advertisements.  And  as  done  in  two  colors,  in  much  larger  space, 
the  result  was  exceptionally  pleasing.  The  Mazda  page  is  as  much  a  poster  as 
if  planned  for  the  dealer's  window. 

pany  may  for  many  months  insistently  stress  tailoring  details, 
explanatory  copy,  selling  logic,  and  diagramatic  or  style 
illustration.  Then  comes  the  lighter  note  for  the  relief  it  affords 
to  dealers  and  customers. 

While  the  more  legitimate  poster  advertisement  observes  the 
rudimentary  technique,  as  to  art  and  lettering — and  there  is  a 
most  emphatic  atmosphere — it  is  by  no  means  compulsory  to 
adhere  to  these  familiar  forms.  There  was  a  time  when  a  poster 
meant  definite  technique.  This  is  no  longer  true  and  the  advent 
into  advertising  art  of  a  very  much  higher  grade  of  professional 
talent  has  brought  about  the  latitude. 


208  ILLUSTRATION  IN  ADVERTISING 

The  actual  technique  of  the  artist  is  not  hmited  today;  his 
characteristic  style  may  range  from  fiat,  broad  masses  to  the  most 
detailed  and  polished  handling.  Quality  is  the  aim  rather  than  a 
formal  and  unyielding  observance  of  any  one  poster  medium. 

There  is  less  leeway  in  other  respects;  an  advertisement  which 
is  filled  with  reading  matter,  numerous  subheads,  and  accessory 
illustrations  may  lay  no  claim  to  poster  honors.  Lettering 
should  be  bold,  simple,  and  with  pronounced  character.  Typog- 
raphy seems  strangely  out  of  place.  The  firm  name,  the  name 
of  the  product,  and  a  spirited  phrase  should  suffice  as  to  text. 
And  there  must  prevail  an  atmosphere  which  is  not  crowded. 

A  poster  advertisement  may  feature  still  life  or  figures,  an 
attractive  showing  of  the  package  or  of  product,  or  wholly  hand- 
lettered  text.  But  a  confused  composition  made  up  of  all  of 
these  ingredients  is  not  permissible. 

A  magazine  which  contains  hundreds  of  pages  of  advertising, 
largely  complex  in  its  makeup,  is  an  ideal  setting  for  the  simplified 
poster  display  which  assumes  to  do  no  more,  for  the  time  being, 
that  to  keep  a  trade  name  vividly  before  the  public  and  the 
dealer,  and  to  deliver  a  single  and  significant  selling  argument. 

If  posters  along  the  public  highways  are  a  contributory  force 
in  advertising  and  effective  in  the  accomplishment  of  a  specific 
objective,  then  it  may  be  said  that  miniature  posters  in  periodicals 
are  equally  serviceable  and  legitimate,  and  to  a  reasonable  degree 
attain  the  same  result. 


CHAPTER  XXVI 
WHEN  THE  PRODUCT  DOMINATES 

There  will  always  be  a  friendly  controversy  between  advertisers 
who  believe  that  showing  the  product  persistently  and  in  as 
large  size  as  possible  is  of  greater  importance  than  human 
interest  illustrations  built  around  it. 

Is  atmosphere  of  more  substantial  selling  value  than  the  some- 
times unadorned  presentation  of  the  thing  advertised?  Should 
commercial  illustrations  seek  beauty,  charm,  melodramatic 
action,  or  be  content  with  such  displays  as  will  be  accorded  a 
product  in  a  shop,  on  a  counter,  or  in  a  window?  The  answer 
is  really  one  which  is  so  often  overlooked  in  any  critical  discus- 
sion of  a  single  advertisement  or  a  connected  campaign. 

Once  an  advertising  campaign  has  gotten  under  headway, 
its  form  may  constantly  change  pictorially.  Nothing  in  the 
analysis  of  markets  and  products  justifies  the  behef  that  the 
physical  attributes  of  advertising  should  find  a  given  atmosphere, 
or  form,  and  remain  inflexible.  It  is  dangerous  and  ill-advised, 
therefore,  to  single  out  one  display  or  one  series  and  to  judge  it 
without  full  knowledge  of  what  has  gone  before  and  what  is  no 
doubt  scheduled  to  follow. 

One  of  the  most  common  faults  in  a  consideration  of  adver- 
tising is  thus  to  concentrate  upon  one  unit.  The  veteran  who 
has  been  through  the  various  stages  in  the  progress  of  a  cam- 
paign suffers  no  delusions  in  this  respect  and  is  more  tolerant. 
Advertising,  to  him,  is  a  coat  of  many  colors,  and  its  character 
is  constantly  changing  to  fit  the  by  no  means  fixed  conditions 
of  markets,  popular  purchasing  moods,  commercial  aspects 
of  seasons,  and  the  gradual  development  of  a  manufacturing  insti- 
tution in  its  relation  to  the  advertising. 

When  the  product  is  new  and  its  advertising  is  at  its  inception, 
illustrations  are  apt  to  concentrate  upon  a  showing  of  the  article 
itself,  with  little  else.  To  familiarize  the  public,  speedily, 
with  the  appearance  of  this  article  and  with  its  distinctive  fea- 
tures is  one  of  the  early  obligations  of  a  campaign. 

209 


210  ILLUSTRATION  IN  ADVERTISING 

There  has  never  been  what  may  be  looked  upon  as  a  completely 
effective  plan  of  introducing  that  last  link  in  the  advertising 
chain,  namely,  a  final  contact  at  the  point  where  the  consumer 
goes  in  to  make  the  purchase.  There  are  numerous  devices, 
many  of  which  are  important  and  interesting  but  none  which 
make  the  circuit  quite  complete.  Store  cards,  counter  cards, 
window  displays,  mechanical  signs,  and  dealer  literature  serve 
an  invaluable  service.  The  man  behind  the  counter  seems  to 
be  the  arbiter.  He  may  be  a  "living  advertisement"  for  any 
product  he  wishes  to  put  forward. 

Products  which  are  an  open  exhibit  are  in  themselves  adver- 
tisements, in  proportion  to  the  public's  visual  familiarity  with 
them.  Influenced  by  advertising,  the  consumer  sees  the  prod- 
uct, perhaps  points  to  it,  designates  it  by  name,  and  demands 
it.  The  advertising  plainly  has  been  read  and  a  desire  to  pur- 
chase engendered,  and,  when  the  product  makes  its  appearance 
in  public  display,  the  circuit  comes  as  near  being  made  complete 
as  possible. 

In  a  desire  to  achieve  this,  an  advertiser  of  canned  goods, 
putting  out  an  extensive  line,  all  bearing  a  similar  label  of  dis- 
tinctive design  and  color  scheme,  has  for  many  years  persistently 
followed  a  definite  policy  in  his  advertising.  Contracts  have 
been  made  with  magazines  which  assure  the  placing  of  the  adver- 
tising always  in  the  same  position.  This  means  that  it  settles  down 
to  billboard  prominence.  The  public  has  grown  to  look  for  the 
company's  advertising  in  a  certain  place  every  week,  every  month. 

In  analyzing  the  plan,  reproduction  of  the  can,  in  exact 
colorings,  becomes  fixed  idea  Number  Two.  Whatever  else  there 
may  be  on  a  page,  the  container,  exact  size  or  larger,  is  the 
dominant  feature.  It  is  easily  conceivable  that  after  years  of 
such  advertising,  the  public  will  have  come  to  know  the  can. 
The  advertiser  once  said:  "Our  advertising  is  little  more  than  a 
standardized  shelf  for  our  goods." 

Intermittently,  through  years  of  campaigning,  there  should 
be,  unquestionably,  a  recurrent  adaption  of  this  idea.  Institu- 
tional themes  appear  and,  after  they  have  run  their  course, 
give  way  to  rugged  and  frankly  commercial  showings  of  the  goods 
to  the  exclusion  of  everything  else.  It  is  the  business  instinct 
asserting  itself.  For,  although  the  artistic  in  advertising  has 
received  every  encouragement,  the  click  of  the  cash  register 
must  occasionally  echo  through  all  advertising  pages. 


WHEN  THE  PRODUCT  DOMINATES  211 

In  the  pioneer  days  of  advertising,  showing  the  goods  meant 
no  attempt  at  artistry.  Wood  cuts  of  the  product  were  crudely 
placed,  and  the  appeal  was  far  less  positive  than  under  the  pres- 
ent regime.  It  has  been  found  possible  to  combine  a  reasonable 
amount  of  atmosphere  with  the  commerical.  To  some  extent, 
this  has  been  brought  about  by  new  and  artistic  methods  of 
bringing  the  inanimate  product  to  life.  The  artist  and  the 
retoucher  seem  to  be  able  to  supply  the  most  homely  and  unim- 
aginative object  with  visual  allurement. 

A  photographed  automobile  tire  might  be  commonplace 
enough;  but  the  same  photograph  can  be  retouched,  given  certain 
attractive  hghting  effects,  and  its  artistic  merit  is  unquestioned. 
Glorifying  he  Inanimate  has  been  made  a  chapter  in  this  book 
because  of  its   close  relation  with  the  subject  now  presented. 

If  lighting  and  photography  can  not  make  the  article  live, 
the  original  illustration  follows.  The  artist  handles  these  drab 
objects  as  might  a  portrait  painter  as  he  poses  and  interprets  his 
living  model.  Who  would  suppose  that  the  picture  of  a  piece  of 
machinery  could  be  made  artistically  attractive  to  any  save  the 
individual  who  "loves"  machinery?  Yet  it  is  being  done.  A 
non-technical  pubHc  has  been  made  to  take  an  interest  in  mech- 
anisms of  all  kinds  through  the  subtle  artifices  of  the  commer- 
cial artist  who  uncovers  beauty  in  everything,  once  he  sets 
himself  to  the  task. 

For  one  entire  year,  a  manufacturer  of  automobiles  used  only 
unembellished  reproductions  of  these  power  plants  and  the 
campaign  was  singularly  alluring  to  a  class  which  heretofore  had 
not  bothered  itself  with  such  matters.  The  drawings — for  they 
were  original  wash  illustrations  and  not  retouched  photographs — 
were  fascinating,  due  to  lighting,  to  subduing  of  certain  non- 
essential parts,  and  to  elaborating.  Glittering  pin  points  of 
emphasis,  here  and  there,  made  cold  metal  throb  with  life.  Light 
displays  its  true  potency  in  illustrations  of  this  character. 

During  a  conference  in  a  large  meat-packing  institution,  the 
salesmanager  of  the  company  said  to  an  artist,  who  had  been 
called  into  conference: 

I  am  willing  to  wager  that  you  can't  make  a  side  of  ham  or  of  bacon 
pictorially  interesting.  The  subject  does  not  permit  of  it.  Our  cover- 
ings are  simple  and  crude.  This  product  we  sell  does  not  permit  of 
your  so-called  "artistic  visualization."  But  I  am  willing  to  concede 
that  there  is  more  salesmanship  in  the  reproduction  of  a  ham  or  a  bacon, 


212 


ILLUSTRATION  IN  ADVERTISING 


for  a  time,  at  least,  than  in  the  most  elaborate  human  interest  picture  of 
a  brcalvfast  table  scene  or  any  of  the  rather  conventional  themes  com- 
monly employed  for  an  article  of  this  character.  We  are  disconcerted 
by  the  phj^iical  appearance  of  the  very  thing  \vc  sell.  It  isn't  attractive 
in  a  picture. 

The  packaged  product  was  laid  on  a  piece  of  black  velvet; 
one  side  of  the  studio  was  darkened;  and  a  strong  light  played 
from  the  opposite  side.  An  electric  globe  shot  a  top  light  from 
above. 

If  the  huinl)le  package  of  ham  had  been  a  person  of  note  posing 
for  his  oil  portrait,  the  task  could  not  have  been  approached  more 


Fig.  126. — These  magazine  pages,  in  every  instance,  feature  tlxe  product,  with 
few  accessories.  The  advertiser  seeks  to  familiarize  his  pubUc  with  the  actual 
goods.     Color,  in  one  or  two  cases,  was  of  real  assistance. 

conscientiously  nor  more  seriously.  When  the  completed  canvas 
was  delivered,  the  skeptical  committee  gasped.  An  inartistic 
thing  had  been  given  real  beauty.     The  artist  had  won  the  wager. 

It  was  not  until  similar  treatment  was  accorded  automboile 
engines  and  special  parts  that  advertisers  of  these  subjects 
dared  to  feature  them  as  the  main  illustrative  theme  because  of 
the  acknowledged  public  indifference  to  things  mechanical.  An 
advertiser  today  may  devote  almost  an  entire  magazine  page  to 
the  thing  he  manufactures,  and  the  larger  it  is  shown,  the  better 
he  is  pleased.  Whereas  in  the  past  such  pages  were  crude  and 
inartistic,  they  have  become  wholly  in  accord  with  other  adver- 
tising in  the  same  publication. 

To  reproduce  the  product  actual  size  has  become  one  of  the 
accepted  features  of  every  campaign.     During  a  discussion  of  a 


WHEN  THE  PRODUCT  DOMINATES 


213 


campaign  of  some  magnitude  for  shoes,  an  advertiser  asked  this 
question : 

But  what  can  we  do  in  the  way  of  ilhistrating  this  scries?     There  is 
nothing  new  under  the  sun.     Everything  that  can  be  done  lias  l)een 


FR,\NKLIN 


SELZ    SHOES 


Fig.  127. — In  each  one  of  these  pages,  shown  in  greatly  reduced  form  here, 
the  product  dominates  the  layout.  It  has  been  made  the  lime-lighted  feature  of 
the  illustration.  But  there  is  no  suggestion  of  the  catalog  page,  due  to 
artistic  and  imaginative  handling. 

done.     I  have  made  a  collection  of  all  shoe  advertising  over  a  period  of 
three  years,  and  apart  from  one  or  two  artististic  exceptions,  the  pic- 


214  ILLUSTRATION  IN  ADVERTISING 

torial  similarity  is  disillusioning.  Shoes  arc  shoos  and  imagination  does 
not  seem  to  find  very  much  to  jiut  into  a  jjicture — just  i)coi)lc  wearing 
shoes,  done  in  this  way  or  that.  It  would  scenx  to  me  that  one  of  our 
greatest  problems  will  be  to  discover  a  distinctive  idea  for  our  own 
campaign.     Can  it  be  done? 

And  again  the  obvious  became  the  solution.  In  a  study  of 
past  advertising  for  shoes,  there  was  no  single  example  of  a 
campaign  which  had  made  a  feature  of  a  shoe  actual  size, 
reproduced  in  colors. 

A  campaign  was  immediately  started  with  this  as  the  central 
illustrative  plan.  By  combining  fine  photographs  with  effective 
retouching,  shoes  were  placed  on  the  pages  in  a  bold  and  a  convinc- 
ing manner,  "large  enough  to  step  into,"  as  a  member  of  the 
committee  exultantly  remarked.  Every  detail  of  the  workman- 
ship and  of  the  texture  of  the  leather  was  brought  out.  Tan 
shoes,  when  a  second  color  was  used,  were  amazingly  realistic. 

As  the  campaign  progressed  and  as  all  models,  were  shown, 
unaggressive  background  accessories  were  put  to  work,  such 
as  scenes  in  the  sport  field,  at  social  functions,  and  of  allied  human 
interest  bits.  They  were  not  bold  enough  in  technique,  however, 
to  detract  from  the  theme  of  the  shoe.  As  these  advertisements 
appeared,  it  was  significant  to  find  to  what  extent  dealers  were 
selling  the  shoe  being  featured  during  that  period.  The  show 
counter  method  asserted  itself  at  the  point  of  consumer  contact. 

When  new  models  and  new  containers  are  brought  out  by  the 
manufacturer,  the  jumbo-sizes  illustration  of  the  product  is 
most  valuable  and  serves  one  of  its  most  useful  purposes. 


CHAPTER  XXVII 
MELODRAMATIC  ACTION 

There  are,  of  necessity,  two  basic  classifications  in  advertising 
art,  the  passive  and  the  active;  and  both  have  their  allotted 
usages.  As  a  rule,  however,  regardless  of  the  product,  illus- 
trations which  are  animate  carry  the  greatest  appeal.  This  is  a 
fundamental  of  life  itself  and  of  human  nature. 

The  one  literary  and  dramatic  form  which  does  not  seem  to 
grow  stale  and  which  is  ever  sure  of  its  receptive  audience  has  its 
origin  in  melodrama.  People  are  fond  of  excitement,  of  thrill, 
and  of  scenes  which  make  the  pulse  beat  a  little  faster. 

It  is  the  one  appeal  which  reaches  all  classes,  under  all  cir- 
cumstances. In  the  average  life  there  is  a  minimum  of  action, 
of  adventure,  and  of  spectacular  incident.  The  most  casual 
incident  on  the  street,  from  the  automobile  smashup  to  the 
dropping  of  a  safe  from  an  upper  story,  will  attract  thousands. 
There  is  a  lesson  in  this  for  advertisers  and  for  creators  of  adver- 
tising illustrations. 

It  will  be  interesting  to  select  and  follow  through  one  example, 
demonstrating  that  the  same  product  and  the  same  campaign  can 
be  handled  in  two  widely  divergent  pictorial  moods.  The  subject 
is  a  storage  battery  for  automobiles.  While  competitive  cam- 
paigns illustrated  their  batteries,  service  stations,  and  the  con- 
ventional themes  common  to  the  product,  one  advertiser  saw 
dramatic  possibilities  in  what  happens  when  a  car  is  suddenly 
made  impotent  through  the  giving  out  of  the  current  which 
animates  it?  What  is  the  inevitable  result  when  a  battery 
unexpectedly  refuses  to  operate?  Here  was  a  valid  advertising 
objective,  to  make  car  owners  aware  of  the  importance  of  a 
battery. 

In  every  advertised  product  or  proposition,  some  element  of 
thrill  can  be  found.  The  problem  may  appear  painfully  common- 
place and  drab  to  the  advertiser  and  the  viewpoint  of  the  outsider 
is  essential.  It  is  told  of  a  manufacturer  of  belting  supports 
that  he  despaired  of  finding  drama.     His  trade  paper  and  maga- 

215 


216 


ILL  US  TR  A  riON  IX  A  D  T  'ER  TISIXG 


Fig  128.— These  remarkable  pictures  were  drawn  from  real  life  and  ar  ual 
happenings.  Their  themes  are  peril,  sudden  danger,  unnecessary  risk  of  life. 
But  who  shall  say  that  they  are  not  legitimatized  by  their  tendency  to  make 
people  think  in  terms  of  guarding  against  just  such  hazards? 


MELODRAMATIC  ACTION 


217 


zine  advertising  was  doomed  to  dull  repetitions  of  mechanical 
facts.  But  an  enterprising  advertising  manager  offered  prizes 
for  ideas  for  illustrations.  Letters  were  sent  out  to  factory 
superintendents,  and  soon,  sufficient  fact  material  was  received  to 
prepare  an  entire  year  of  advertising.  One  of  the  stories  was 
that  of  a  great  Kansas  earthquake,  of  desolation  spread  broad- 
cast, and  of  a  large  plant  swept  into  a  jungle  of  twisted  iron  and 
steel.     But  one  belt  line  remained  true  to  its  trust.     A  dummy 


Fig.  129. — A  rather  rommonplace  and  undramatic  accident  dramatically  handled. 
The  product  advertised  is  floor  varnish,  impervious  to  moisture. 


engine  was  attached  and  the  belts  revolved.  More  picturesque 
perhaps  was  the  letter  which  told  of  the  delicacy  of  belt  adjust- 
ment in  another  industrial  plant ;  birds,  sparrows,  flying  through 
the  open  window  of  a  factory,  alighting  on  the  belts,  were 
sufficient  impediment  to  stop  the  flow  of  power — a  circumstance 
which  proved  that  there  was  no  lost  motion  and  no  waste  genera- 
tive activity.  These  belts  were  adjusted  to  deliver  just  so  much 
power — and  they  were  doing  that  and  no  more.  The  system 
which  held  them  in  place  was  therefore  perfect. 


218 


ILLUSTRATION  IN  ADVERTISING 


The   advantages   of   the   melodramatic   illustration   may   be 
summed  up  as  follows: 

Action  is  an  admittedly  efficient  attention  compeller. 
People  are  intensely  interested  in  unusual  situations. 
The   reader  whose   life   is   commonplace   feeds   on   situations  which  arc 
exciting. 

Creating  interest  at  the  inception  of  the  message  is  guaranteed. 


Fig.  130. — Melodrama  in  advertising  illustration  need  not  necessarily  mean 
"blood  and  thunder"  as  this  subtle  pictures  proves.  The  tug  at  the  nerves  and 
the  heart  are  as  much  in  evidence.  The  suggestion  is  advanced  that  mothers 
should  always  keep  emergency  medicines  on  hand. 

Possibilities  in  spirited  copy  arc  numerous. 

Movement  as  opposed  to  passive  subject  material  is  paramount. 

Advertising  takes  the  form  of  drama  and  as  such  with  its  slight  exagger- 
ations, is  always  alluring. 

The  presentation  of  pictures  which  suggest  the  peril  of  human  neglect  or 
foolhardiness  acts  as  a  vigorous  lesson. 

Sentiment  is  a  strong  moving  force,  and  the  melodramatic  in  illustration 
is  largely  dependent  upon  sentiment. 


MELODRA  MA  TIC  A  C TION 


219 


The  majority  of  the  more  successful  melodramatic  pictures  are 
founded  on  written  scenarios,  which  inspire  the  artist  to  "catch 
the  spirit"  of  a  tense  scene.  The  form  is  simple,  direct,  highly 
descriptive.  In  order  to  project  such  themes  powerfully,  the 
advertiser  draws  a  verbal  canvas,  much  as  follows : 

For  a  Campaign  on  Automobile  Motors. — Object  of  the  illustration  is 
to  make  people  think  more  seriously  of  the  part  played  by  the  automo- 
tive industry  in  our  modern  civilization.  Tendency  is  to  discredit  the 
magnitude  of  the  industry  and  to  take  too  much  for  granted.     People 


"Give  me  a  ticket  to 


p» 


Fig.  131. — A  shrewdly  thought-out  and  drawn  illustration  of  the  trusted 
employee  who  is  making  a  quick  get-away  with  stolen  funds.  Expressions  of 
faces  are  born  of  melodrama.  The  idea  was  used  by  an  Insurance  company  to 
visualize  a  copy-drama  connected  with  Fidelity  Bonds. 

look  on  motor  cars  as  so  much  metal,  leather,  wood.  Our  task  to 
humanize  the  product.  Theme — the  motor  car  meets  an  emergency  and 
is  practically  indispensable.  Characters:  a  mother,  a  small  child,  a 
country  physician.  Scene :  bed  room  of  a  remote  house  in  rural  district. 
Time:  late  at  night.  A  child  has  been  taken  seriously  ill,  professional 
care  is  all  that  can  save  its  life.  A  doctor  must  arrive  quickly.  The 
home  is  obviously  not  in  a  village.  It  is  miles  away  from  traffic  lines. 
But  there  is  a  telephone.  It  is  used  to  summon  doctor.  Artist  picks  up 
thread  of  story  just  as  this  man  arrives.  Show  little  girl,  in  the  throes 
of  a  high  fever,  in  bed,  unconscious.  Mother  nearby,  the  light  of  a  great 
terror  in  her  eyes.  A  kindly  physician  is  seated  at  the  beside,  feeling 
pulse  of  the  child.     Great  care  should  be  taken  to  portray  this  rural 


220  ILLUSTRATION  IN  ADVERTISING 

doctor  as  the  symbol  of  a  type,  kindly,  patient,  white-haired.  Lighting 
of  illustration  so  arranged  as  to  add  to  dramatic  qualities  of  the  scene. 
Mother  looking  at  him,  rather  than  at  child.  She  places  absolute 
trust  in  his  professional  jurisdiction.  Element  of  suspense  established. 
The  moment  is  one  of  tremendous  significance.  A  httle  life  is  at  stake. 
Copy  to  state  that  before  the  motor  car,  this  country  doctor  might  have 
taken  hours  to  reach  his  destination.  His  automobile  has  brought  him 
in  a  comparatively  brief  space  of  time.  How  many  lives  are  saved  and 
how  much  suffering  alleviated  through  the  ministration  of  scientifically 
directed  power  as  expressed  in  an  automobile  power  plant. 


When  Life  Depended  Upon 
Safe  Lubrication! 


Tig.  1,32. — A  speeding  airplane,  silhouetted  against  the  lightning-streaked 
sky,  and  sinister  darkness  added  its  own  touch  of  impending  danger.  Melo- 
drama of  the  most  compelling  kind. 

A  few  years  ago,  however,  the  manufacturers  of  such  power 
plants  insisted  that  there  was  but  one  method  of  picturing  their 
product,  namely,  to  show  it  as  it  was. 

Would  you  suppose  there  was  any  great  measure  of  melodrama 
in  overalls?  The  conventional  thing  to  do  would  be  to  show 
good-looking  farmers  and  workmen  wearing  the  product  -and 
let  it  go  at  that.  A  sales  manager  for  one  of  the  largest  overall 
manufactories  in  the  world  set  out  to  find  out  just  why  it  was 
that  this  brand  had  quietly  earned  the  reputation  of  being  the 
"strongest"  garment  on  the  market.  And  here  are  some  of  the 
fact  stories  which  came  out  of  his  investigation: 


MELODRAMATIC  ACTION 


221 


A  steel  worker,  high  on  a  tall  building,  lost  his  footing  and 
would  have  fallen  to  his  death  had  not  his  overalls  caught  on  a 
projecting  obstruction.  He  hung  there  for  three  quarters  of 
an  hour,  helpless,  until  he  was  discovered. 

A  railroad  employee,  engaged  in  building  a  bridge  across  a 
swollen  mountain  stream,  pitched  headlong  to  what  seemed 
certain  death.  His  working  clothes  caught  on  a  beam  and  he 
was  lifted  to  safety. 

Something  like  three  hundred  such  dramatic  incidents  were 
eventually  uncovered,  enough  surely,  when  turned  over  to  an 


'^^ 


IToo  Late  -  ^ 

it  was  beyond  control 


Stands  between 
your  home 
and 


7 


The  Tragedy— 

the  useless  tragedy  of  it  uU  .  - .  .  ,-     , .  _ 

have  the  meuns  to  stifle  any  fire  at  the  sWrt 


Fig.   133. 

Left. — A  gunman,  with  aimed  revolver  may  cause  a  first-glance  revulsion,  but 
the  advertiser  has  a  warning  to  register  and  a  melodramatic  story  to  tell. 

Right. — The  tragedy  of  a  human  face  told  in  melodramatic  terms,  and  with  a 
back-drop  of  fire-fighting,  throb  and  thrill. 

artist  of  ability  who  made  one  of  the  most  sensational  series  of 
commercial  illustrations  ever  used.  There  was  a  pulse-beat  in 
every  one  of  them.  The  interesting  part  of  such  stories  as  this  is 
their  close  adherence  to  actual  life  experiences,  they  need  not 
be  fabrication. 

A  dirigible  broke  loose  from  its  moorings  in  a  severe  storm 
and  was  swept  seaward  in  the  teeth  of  a  howling  winter  gale. 
But  the  men  aboard  are  heroes  born,  and  after  a  dramatic  battle 
for  life  in  the  air,  the  huge  bird  was  steered  safely  back  to  its 


222 


ILLi'STRATIOX  IX  ADVERT ISISG 


hangar.  Twenty-four  hours  afterwards,  no  less  than  fifteen 
advertisers  had  taken  advantage  of  this  news  feature.  One 
manufacturer  had  made  this  product  used  in  the  dirigible,  another 
something  else.  They  were  all  instrumental  in  the  heroic  demon- 
stration of  endurance.  The  series  compelled  reader  attention, 
as  inevitably  as  the  most  trivial  street  accident  will  interest 
crowds  of  people. 


Fig. 


You  can't  see  it — 

But  you  know  it's  there 

131. — Spirited  action,  as  an  advertiser  of  a  tiro  gauge  vividlj-  illustrates  the 
unseen  power  of — wind,  air,  in  action. 


It  is  scarcely  fair  to  declare  that  attracting  attention  under 
these  conditions  is  unethical.  The  melodrama  of  everyday 
life  is  as  legitimate  as  its  quieter  passages. 

The  reader  asks  only  that  situations  be  manifestly  sincere 
and  that  scenes  depicted  be  wholly  within  the  range  of  reason. 
When  a  manufacturer  of  roofing  shows  the  tragedy  of  the  mid- 
night fire  in  a  suburban  community  in  the  black  sky,  the  distant 
conBagration,  the  rain  of  sparks,  the  sinister  red  glare,  and  the 
shadows  of  many  scurrying,  frightened  figures — and  when,  in 
the  foreground,  his  artist  suggests  a  single  whirling,  descending 
jet  of  fire,  just  about  to  fall  on  a  roof,  he  is  dealing  in  the  kind  of 


MELODRAMATIC  ACTION  223 

melodrama  which  is  born  of  fact  and  which  is  certain  to  make 
his  audience  catch  their  breaths  in  sudden  expectancy.  It  is 
action  and  undeniably  good  advertising. 

Seek  for  the  embedded  melodramatic  thrill  or  heart  throb  in 
every  problem,  in  every  piece  of  copy,  or  in  every  product,* 
however  commonplace  it  may  seem  to  be.  The  curtain  of  the 
advertisement  will  then  rise  on  an  opening  scene  which  will 
hold  the  spectator  to  the  end. 


CHAPTER  XXVIII 
CHARACTER  STUDY 

One  development  in  advertising  art  is  the  broadening  out  of 
its  portrait  gallery.  During  the  earlier  period  of  experiment,  few 
types  were  attempted.  A  species  of  rubber  stamp  characteriza- 
tion was  in  vogue,  which  meant  duplication  of  accepted  and 
conventional  classifications.  There  was  a  one  type  of  business 
man,  a  one  type  of  housewife,  and  so  on. 

Artists  seldom  deviated  from  these  studies,  which  might  well 
have  originated  from  a  pattern,  so  closely  did  they  adhere  to 
form.  If,  for  example,  it  came  within  the  advertiser's  plans  to 
present  the  picture  of  a  workman,  the  study  was  thoroughly 
familiar,  and  exact  counterparts  could  be  found  in  other 
campaigns. 

Today  advertising  justly  boasts  of  its  startlingly  large  cast  of 
characters.  Character  portrayal  was  obviously  helped  along  by 
the  imaginative  quality  of  copy,  which  made  it  absolutely  neces- 
sary for  the  artist  to  search  for  new  faces  and  for  studies  of  indi- 
viduals more  closely  identified  with  the  spirit  of  their  messages. 
To  illustrate:  the  manufacturer  of  an  automotive  truck  undertook 
to  point  out  to  the  public  the  influence  of  these  vehicles  on  human 
progress.  Each  type  of  business  was  taken  in  turn,  dairying, 
the  delivery  of  groceries,  of  crops,  of  meats,  etc.,  and  to  more 
closely  visualize  the  lines  of  trade,  persons  most  active  in  each 
field  were  shown,  in  portraits,  as  near  life-sized  as  possible,  on  the 
advertising  page.  From  here  on,  the  text  explains  the  relation  of 
delivery  to  purchase — the  swift,  sure  moving  of  goods.  A  fea- 
ture of  the  advertising  campaign  of  a  dry  goods  store,  which 
ran  for  two  j^ears,  was  its  weekly  presentation  of  types  of  men  and 
women.  There  was  a  delightful  study  of  the  typical  woman 
shopper.  She  could  be  duplicated  in  every  city  the  country  over. 
The  study  was  a  symbol  of  frugality  and  skilful  purchasing  power. 
Before  this  campaign  had  run  its  course,  no  less  than  fifty  large 
character  heads  had  been  used,  each  a  marvel  of  studied  choice. 

224 


CHARACTER  STUDY 


225 


The  copy  which  accompanied  one  of  the  portraits  stated: 

Eight  billion  dollars  is  the  public's  annual  bill  with  America's  40,000 
department  stores— not  including  160,000  other  stores  handling  dry 
goods  and  allied  merchandise.  The  item  for  buttons  alone  is  $26,534,- 
000.  It  requires  a  trained  force  of  fully  a  million  men  and  women,  at 
an  aggregate  salary  of  $700,000,000  a  year,  to  attend  the  countless 
throngs  that  gather  daily  at  the  counters  of  these  stores. 

An  advertiser  of  radio  head  sets  concluded  that  no  better 
illustrative  scheme  could  be  devised,  than  the  showing  of  different 


Fig.  135.— It  is  always  desirable  to  eliminate  nonessential  detail  and  to  show 
"close-ups,"  for  character  can  be  brought  out  strikingly  and  in  a  bold,  dramatic 
manner.  This  advertiser  by  the  use  of  large  heads,  can  emphasize  expression, 
reactions  of  sentiment,  and  true  character  delineation. 

types  of  Radio  fans  listening  in  on  programs  which  inspired  facial 
expressions  of  more  than  ordinary  interest.  They  ranged  from  a 
kindly  farm  grandmother  to  a  tired  business  man.  The  showing 
of  faces  only  permitted  clear  characterization  and  the  series  was  a 
portrait  gallery,  more  impressive  than  if  rubber  stamp  tradi- 
tions had  been  adhered  to. 

Every  line  of  business  and  every  advertising  campaign  encour- 
ages a  reaching  after  suited  types  of  persons.  These  shades  of 
difference  are  more  significant,  now  that  artists  have  put  them  on 
paper  with  conscientious  skill. 


226 


ILLUSTRATIOX  I.\  ADVERTISING 


A  manufacturer  wishes  to  tell  the  public  of  the  skill  and 
specilization  of  its  workers — the  people  who  make  the  goods. 
And  it  becomes  at  once  apparent  that  the  workman  in  a  steel 
plant  in  no  wise  resembles  the  toiler  in  a  shoe  factory  or  the  work- 
man of  the  automobile  plant.  There  is  a  marked  difference. 
What  people  do,  what  they  are,  and  what  they  produce  appear  to 
mold  the  type. 

It  is  amazing  to  discover  the  variations  of  types,  of  facial 
expressions,  and  of  character,  clearly  defined.  No  two  faces  are 
exactly  ahke  and  one  of  the  most  amazing  truths  of  human  exis- 
tence is  the  diversity  of  the  human  pattern.     It  is  therefore 


Fig.  136. 

Left. — A  pleasing  character  study  of  a  familiar  type.  The  artist  looks  for  a 
living  model,  and  selects  such  types  from  the  very  field  he  is  supposed  to  portray. 
A  real  grocer  poses  for  his  portrait.     All  of  which  makes  for  a  wider,  truer  range. 

Right. — Rugged  farm  types,  very  carefully  delineated.  Every  illustration  in 
this  series  took  up  some  well-known  classification,  and  represented  them  "to  the 
life." 


beneficial  to  advertising  to  reflect  this  impressive  variety  and  to 
be  wholly  truthful  in  character  delineations. 

To  walk  along  a  crowded  city  street  or  to  sit  in  common  carrier 
and  make  a  technical  survey  of  mankind  is  amusing  and  instruc- 
tive. Advertising,  taking  this  thought  as  its  pictorial  cue,  has 
made  almost  unbelievable  progress. 

Because  industry,  as  just  one  factor,  has  gradually  presented 
its  own  kith  and  kin  to  the  rest  of  the  world  labor  has  been  dig- 
nified and  its  activities  strengthened.     One  of  the  largest  manu- 


CHARACTER  STUDY  227 

facturing  industries  in  the  world  ran  full-color  portrait  studies  of 
various  workers  on  the  cover  of  its  internal  house  organ.  They 
were  pleased  with  the  publicity  given  them  and  their  effort,  both 
of  which  would  be,  under  most  circumstances,  concealed  deep 
down  in  puddling  rooms,  in  foundries,  at  lathes,  and  in  grimy 
empires  of  iron  and  steel.  For  people  to  know  "  how  the  other  half 
of  the  world  lives"  is  a  beneficial  influence — this  contact  with 
industry  and  its  rank  and  file.  The  consumer  who  is  interested 
in  how  and  by  whom  the  product  is  made  is  more  tolerant 
and  more  appreciative. 

The  following  paragraph  from  an  advertisement  of  this  sort 
is  illuminative : 

The  real  foundation  on  which  a  superior  product  is  built  lies  not  in 
mere  bigness  of  plant,  but  rather  in  the  organization  and  character  of  the 
men  and  women  who  day  by  day  contribute  their  part  to  its  making. 

The  American  Seating  Company  has  presented  in  its  campaign 
many  splendid  character  studies  of  its  workers,  however,  humble 
they  may  be.  How  does  it  happen  that  this  study  of  a  veteran 
maker  of  school  desks  is  so  strangely  real,  so  human,  so  distinctly 
true  to  type?  Those  who  see  the  advertisement  know  immedi- 
ately that  there  is  nothing  superficial  in  the  portrait. 

Artists  now  go  to  industrial  plants  and  makes  sketches  and 
have  men  and  women  sit  for  them.  The  job  is  conscientiously 
done.  These  studies  are  not  "made  up"  in  studios.  An 
artist,  employed  to  produce  a  number  of  distinctive  factory  types, 
spent  two  months  at  the  plant.  He  lived  with  these  people, 
watched  them  at  work,  and  saw  them  in  their  homes.  He  came 
to  know  them  intimately,  and  from  this  experience  developed 
a  series  of  genuinely  impressive  character  studies.  The  man, 
at  work  on  the  Americain  Seating  Company  school  desk,  "looks 
the  part"  because  he  is  the  creator  of  his  role. 

This  explains  why  it  is  that  the  portrait  gallery  of  modern 
advertising  has  gained  so  much  and  has  become  so  pronouncedly 
vitalized  during  the  past  few  years.  Portraiture  is  more  con- 
scientiously done.  The  opportunity  was  always  there;  artists 
did  not  take  advantage  of  it. 

There  is  often  virtue  in  homeliness  and  in  the  unassuming. 
The  public  had  reached  a  point  where  it  was  unquestionably 
satiated  with  the  cloying  sweetness  of  the  pretty  girl  type  of 
illustration,  all  affectation  and  no  character.    Advertisers  labored 


228 


ILLUSTRATION  IN  ADVERTISING 


under  the  impression  that  people  wanted  an  idealized  type.  It 
did  not.  It  wanted  and  has  always  wanted,  truth,  that  which 
was  natural. 

Affectation  in  character  portrayal  is  as  dangerous  and  as 
unsatisfactory  as  lack  of  truth  in  advertising. 

Where  once  there  was  an  unbroken  line  of  pretty  dolls  there 
are  true-to-life  portraits  real  people,  of  real  women,  housekeepers, 


Fia.   137. — The  artist  humanizes  the  expert  factory  veteran  and  suggests  that 
genuine  sentiment  goes  into  his  task. 


matrons,  mothers,  daughters,  sisters,  and  college  girls.  The 
superficial  has  yielded  to  a  reflection  of  people  as  they  arc  found. 
A  campaign  was  built  on  making  grocers  the  star  of  every 
advertising  performance.  And  in  order  to  secure  the  portraits 
for  this  series,  the  artist  made  sketches  in  grocery  shops  in  seven 
different  states.  He  searched  for  interesting  types.  There 
was  no  attempt  to  glorify  the  men  ])ohind  the  counter.  They 
were  drawn  as  people  find  them,  day  by  day. 


CHARACTER  STUDY 


229 


To  illustrate  properly  another  campaign,  the  artist  had  his 
models  pose  for  hnn,     A  policeman,  a  sea  captain,  a  miner,  a  / 
chopper  of  trees  from  the  pacific  northwest,  a  Pullman  car  con- 
ductor, and  a  governess  posed  for  the  advertising  artist. 


Fig.  138. — For  one  year  this  advertiser  believed  it  distinctly  worth  while  to 
delineate  character — the  character  of  the  men  found  in  the  average  garage.  The 
artist  went  at  this  work  conscientiously,  sketching  from  real  types. 

The  central  character  of  a  successful  campaign  used  as  its 
central  figure,  Mr.   Average  Motorist.     A  dozen  unsuccessful 


230 


ILLUSTRATION  IN  ADVERTISING 


attempts  were  made  to  create  a  type  which  would  be  at  once 
familiar  to  everyone.  The  advertiser  and  the  artist  went  to  a 
popular  country  club.  They  watched  the  steady  stream  of  cars 
passing  a  given  point,  during  Saturdays  and  Sunda3^s,  and  when 
that  "type"  flashed  across  their  vision — for  there  always  is 
a  one  best  symbol  of  every  class — the  problem  was  explained  to 


7:30  a.m. 

FATHER  says  breakfast  isn't 
conjpletc  without  Dromedary 


11:00  A.M. 

BROTHER'S  f.nvoriic  .andwicfr- 
ci  at  school  rewsi  arc  chopped 
Jary  Dales  with  cheese. 


6:30  P.M. 

UNCLE  loves  his  D 
dary  Date  S>-ufile,  or 
just  pljin  dates  for  din 


Fig.  139. — Every  member  of  the  average  family  is  made  to  join  advertising's 
cast  of  active  characters.  Whereas,  a  few  years  ago,  these  types  were  artificial 
and  all  of  a  conventional  pattern,  it  is  now  customary  to  search  for  sincerity  of 
characterization. 


him  and  he  was  persuaded  to  pose  for  the  drawing,  with  certain 
changes  to  prevent  its  identification. 

People  are  invariably  interesting.  The  advertiser  who  comes 
closest  to  approximating  real  folks  is  certain  to  receive  the  most 
engrossed  attention  and  the  largest  audience. 


CHARACTER  STUDY 


231 


Graham  Brothers  Trucks  Graham  Brothers  Trucks 


Fig.  140. — Two  ruggedly  interesting  character  studies,  from  a  connected 
series,  which,  in  their  aggregate  display,  form  a  portrait  gallery  of  unconven- 
tional advertising  types.  These  character  studies  are  closely  allied  with  the 
story,  in  each  case,  and  are  not  merely  "dragged  in"  for  embellishment. 


FiQ.   141. — A  year  of  advertising  based  on  portraits  of  exacting  people  who  drink 
the  coffee.     And  in  each  case,  the  faces  tell  a  story  of  satisfaction. 


232 


ILLUSTRATION  IN  ADVERTISING 


Truth  in  the  delineation  of  types  is  as  necessary  in  modern 
advertising  illustration  as  fidelity  to  truth  in  copy.  The  public 
is  just  as  responsive,  just  as  exacting.  These  people  of  the 
advertising  "stage"  are  supposed  to  represent,  in  many  instances, 
the  reader  of  the  advertisement.  The  advertiser  asks  him  to 
so  consider  the  situation,  the  persons  shown,  the  story.  Adver- 
tising art  of  this  generation  is  no  more  than  a  picture  of  every- 
day existence  and  the  colorful  human  panorama  that  animates 
it.  Therefore,  types  should  be  genuine,  convincing,  plucked 
from  each  separate  walk  of  life. 


Fig. 


142. — Two  impressively  "real"  studies  of  young  men,  drawn  from  models 
and  carefully  avoiding  the  "rubber  stamp"  school  of  portraiture. 


An  advertising  artist  spent  a  month  in  Maine  in  order  to  find 
the  one  best  model  for  a  typical  guide.  This  character,  used  in 
a  serial  way,  throughout  a  year's  campaign,  would  be  scrutinized 
by  people  who  have  employed  guides  and  who  know  the  type. 
The  slightest  deviation  from  fact  would  weaken  the  entire  series. 
This  advertiser  received  nearly  4,000  letters,  complimenting  it 
on  the  wonderful  drawing  of  the  old  guide.  "I  have  been  out 
with  that  very  chap,"  was  the  substance  of  this  friendly  corre- 
spondence. For  every  desired  type  there  is  a  living  model  and 
the  advertiser  must  find  that  model. 


CHAPTER  XXIX 
THE  HUMAN  INTEREST  ILLUSTRATION 

Not  all  figure  compositions  should  be  looked  upon  as  of  the 
true  human  interest  sort.  It  is  one  thing  to  introduce  characters 
in  an  illustration,  and  another  thing  to  delineate  types  so  deftly 
and  stage  their  actions  with  such  fidelity  that  the  product's 
virtues  are  immediately  visualized. 

In  general,  it  may  be  said,  that  the  ideal  human  interest 
illustration  is  one  wherein  true-to-life  incidents  are  presented, 
without  exaggeration  or  bombast.  It  is  as  ill-advised  to  exagger- 
ate in  pictures  as  to  strain  for  effect  in  copy.  Exaggeration 
invites  suspicion.  Yet  following  too  closely  in  the  footsteps 
of  normal  existence  is  to  deal  in  bromidic  situations,  hackneyed 
ideas,  and  the  drab  trappings  of  things  which  experience  has 
made  obvious. 

That  the  commonplace  circumstance  does  not  arouse  interest 
is  a  theory  certainly  open  to  challenge.  It  must  be  remembered 
that  human  nature  itself  has  not  materially  altered  in  thousands 
of  years.  There  are  basic  themes,  sentiments,  and  ideas  which 
time  leaves  the  same.  Pictures  which  show  primal  passions  or 
sentiments  have  universal  appeal  because  they  are  fundamental 
and  easily  recognized.  They  permit  the  reader  to  place  himself 
in  the  same  precise  environment.  Reflect  what  John  Smith  docs, 
and  John  Smith  is  acutely  conscious  of  his  part  in  proceedings. 
He  is  temporarily  flattered  by  his  personal  ability  to  interpret  your 
picture  narrative. 

When  a  human  interest  illustration  is  so  intensely  human 
that  the  public  steps  into  its  action,  there  is  every  assurance  of 
favorable  results.  It  is  only  on  occasion  that  people  crave  to 
eliminate  everyday  contacts,  and  the  campaign  which  spreads 
a  magic  carpet  becomes  efTective.  It  is  true,  however,  that 
the  enduring  thing  is  the  thing  with  which  we  are  all  most 
familiar. 

233 


234 


ILLUSTRATION  IN  ADVERTISING 


Create  an  illustration  which  shall  compel  the  reader  to  say: 

"I  have  been  there  myself." 

"I  know  a  man  who  looks  like  that." 

"I've  done  that  many,  many  times." 

"I  wish  I  had  one." 

"I  have  seen  people  do  that." 

you  win  an  intimacy  of  contact  which  has  sympathy  and  perfect 
understanding  as  its  base.  Life  is  too  full  for  any  advertiser  to 
imagine  that  there  is  a  shortage  of  material.     Because  these 


Fig.  143. — Mothers  will  chuckle  over  this  good-natured  exposition  of  little 
tots  at  their  bath,  and  the  advertiser  successfully  visualizes  the  fact  that  the 
right  varnish  on  a  floor  means  no  worry  over  spilled  water. 


themes  are  all  around  us,  perhaps  even  light Ij^  brushing  us  as 
they  pass,  they  are  often  overlooked.  The  obvious  is  not  to 
be  despised.  Half-hearted  and  ineffective  handling  of  the  appar- 
ently commonplace  is  what  discourages  its  use.  It  is  as  dis- 
tressing as  a  good  play,  poorly  acted  and  falsely  staged. 

Consider  pictures  of  babies;  exaggerate  them  and  what  they 
do,  attempt  to  force  them  into  situations  which  cannot  exist,  or 
widen  the  range  of  their  action  beyond  actuality,  and  the  fraud  is 
resented.  The  advertisement  may  win  a  smile,  but  it  has 
sacrificed  the  respect  and  the  spontaneous  confidence  of  the 
prospect.     Babies  are  quite  funny  and  pretty  and  interesting 


THE  HUMAN  INTEREST  ILLUSTRATION 


235 


enough,  exactly  as  they  arc,  in  everyday  hfe,  and  it  is  an  artist 
indeed  who  can  suggest  their  elusive  charms.  The  test  of  the 
craftsman  is  depicting  life;  it  is  easier  to  cartoon  and  to  burlesque. 
An  illustration  may  be  drawn  with  consummate  skill  and 
nevertheless  fall  short  of  delivering  a  deeply  moving  story. 
There  is  a  sharp  demarcation  between  skill  of  draftsmanship, 
ingenuity  of  technique,  and  subtlety  of  story.  A  very  poor  draw- 
ing may  possess  inspired  qualities  of  pulse-stirring  emotion, 
which  indicates  that  it  is  the  plot  of  the  picture  as  well  as  its 
interpretation,  which  influences  potential  power  in  an  advertis- 
ing sense. 


Fig.  144. — Two  contrasting  examples  of  admirable  "human  interest"  illus- 
trations, one  frankly  sentimental,  yet  beautifully  so,  the  other  scintillant  with 
humor.     Nor  is  the  selling  message  of  the  varnish  neglected. 


Exactly  the  same  principles  hold  good  as  in  advertising  copy; 
dialogue,  unrestrained  and  unnatural,  is  not  to  be  compared 
with  text  written  in  the  true  vernacular.  The  advertiser  loses 
his  true  perspective,  no  doubt,  in  his  effort  to  emphasize  his  argu- 
ment. He  is  afraid  the  public  wdll  not  understand  it.  When 
illustrations  picture  an  entire  family  going  into  an  hysteria  of 
action  over  some  small  article  of  everday  use,  or  a  stern  board 
of  directors  hypnotized  by  a  cog  or  a  piece  of  leather  belting,  the 
advertising  is  weakened  to  the  extent  of  its  lapse  from  realism. 

Restraint  is  probably  one  of  the  most  valuable  attributes  of 
the  human  interest  illustration;  the  insight  which  prompts  an 
artist  to  go  just  so  far — and  stop. 


236 


ILLUSTRATION  IN  ADVERTISING 


It  is  a  by  no  means  uncommon  practice  for  advertisers  to  arrive 
first  at  their  story  pictures  from  carefully  written  art  scenarios. 
The  advantage  of  this  is  the  opportunity  it  provides  for  analysis 
and  gradual  development,  as  the  first  preliminary  sketches  are 
made. 

Characteristic  picture  plots  would  be  mapped  out  in  this 
interesting  manner: 

Schedule. — Page  space.  Farm  journal  list.  For  use  in 
December.  Illustration  may  occupy  three-fourths  of  total 
space.     Medium-original   wash   drawing,    half-tone   plates.     In 


Fig.  145. — A  General  Electric  illustration  to  elaborate  the  fact  that  if  "  Father 
did  the  washing  just  once,"  in  the  old-fashioned  way,  he  would  speedily  declare 
for  modernism.     "Human  interest"  in  every  line. 

each  case  master  engraving  delivered  to  publication.  No 
electros.  Small  showing  of  two  views  of  watch  model,  full 
front  and  side.  Vigorous  human  interest  type  of  picture  with 
touch  of  humor  to  appeal  to  specific  class.  Illustration  should 
l)ring  out  thorough  time-keeping  dependability  of  product. 

Picture  Plot. — Boy  and  girl,  not  under  sixteen  or  eighteen  years 
of  age,  sitting  before  open  hearth,  on  comfortable  lounge.  Tops 
of  their  heads  showing,  only.  Engrossed  and  unconscious  of 
presence  of  others.  Room  in  semi-darkness.  Furnishings  of  a 
comfortable  but  by  no  means  luxuriant  home.  (Keep  in  mind 
that  modern  farm  house  has  up-to-date  fixtures.  Detail,  how- 
ever, softened  and  subdued  by  shadows.) 


THE  HUMAN  INTEREST  ILLUSTRATION  237 


Fig.  146. 

Upper. — A  novel  departure  from  the  conventional  automobile  drawing,  in 
that  figures  and  their  action  are  permitted  to  take  precedence  over  the  car  itself. 
Observe  the  humorous  story  told  without  need  of  words. 

Lower. — An  unusually  unique  type  of  human  interest  drawing  which  cartoons 
the  basic  idea  of  unguarded  heat  pipe  in  a  home:  it  is  as  if  the  poor  furnace  had  to 
do  its  work  in  the  open.     An  "attention  compellcr." 


238  ILLUSTRATION  IN  ADVERTISING 

In  immediate  foreground,  three-quarter-length  study  of  farm 
father  of  the  prosperous  and  progressive  type.  Smoking  jacket. 
Eye-glasses  in  one  hand,  to  suggest  that  he  has  been  up  reading. 
Whimsical  expression  on  the  old  man's  face,  mouth  puckered, 
twinkle  in  eyes.  No  suggestion  of  displeasure.  He  looks 
straight  out  at  reader,  as  if  taking  him  into  full  confidence. 
Right  hand,  raised  to  catch  light  from  fireplace,  holds  watch. 
Hands  visible,  and  hour  around  twelve.  By  placing  this  hand  in 
approximate  center  of  composition,  the  light  dial  of  the  watch 


Fio.  147. — A  dramatic  story  told  in  picture  form,  as  an  ingeniously  placed  ray 
of  light,  forces  the  reader  to  concentrate  upon  a  single  face  in  the  hustling, 
bustling  throng. 

will  form  bull's-eye  of  visual  interest.  Obvious  from  illustration, 
that  Father  is  about  to  tell  visitor  his  "time  is  up"  for  the  call. 

Copy  Slant. — "No  ground  for  argument.  Dad  'has  the  goods 
on  them.'  There  are  times  when  the  Keystone  Standard  is 
provokingly  accurate." 

Such  scenarios  of  human  interest  as  the  above  greatly  facilitate 
the  making  of  an  illustration.  It  is  significant  that  a  practical 
mind  has  warned  the  artist  against  technical  errors,  such  as 
"playing  down"  to  the  farm  audience. 


THE  HUMAN  INTEREST  ILLUSTRATION 


239 


In  some  organizations,  it  is  customary  to  request  suggestions 
in  this  form  from  a  number  of  people  and  departments,  the  most 
likely  idea  being  adopted,  after  discussion  in  open  conference. 

Eliminating  the  technical  references,  two  additional  scenarios 
are  quoted  in  part,  as  a  further  indication  of  the  spirit  which 


Fig.  148. — One  of  the  General  Motors  dramas  from  real  life.  The  little 
farm  mother  and  her  daughter  are  dreaming  bright  dreams  of  where  the  new 
automobile  will  take  them.  A  charcoal  illustration,  from  carefully  chosen 
models. 


prevails  in  the  building  of  human  interest  illustrations  of  the 
intensely  natural  school.  The  first  might  be  a  word  picture 
interpretation  of  one  of  a  series  of  powerful  page  drawings  for 
the  Underwood  portable  typewriter. 


240 


ILLUSTRATION  IN  ADVERTISING 


Boj'-  of  the  characteristic  "Penrod"  group.  Has  removed  coat  and  is 
at  machine  under  evening  lamp.  Paper  shade  tilted  back  to  diffuse 
light.  Obvious  that  it  is  the  study  period  at  home.  School  books  in 
evidence,  clock,  papers.  Boy  is  typing,  but  expression  of  face  and 
thoughtful  pose,  as  his  eyes  scan  the  neat  page,  give  intimation  of 
momentary  reverie. 

His  thoughts  take  form  in  a  panoramic  scene  in  the  background, 
occupjang  major  portion  of  top-position  space.  Dominant  in  this 
vista  is  proudly  poised  study  of  Daniel  Boone,  musket  over  arm,  coon- 
skin  cap  conspicuous.  Faint  suggestion  around  him  of  his  comrades, 
distant  hills. 


Fig.  149. — A  quiet,  unruffled  study  of  the  contented  pipc-smoker,  who  fits 
his  tobacco  to  his  books  and  his  moods.  An  illustration  which  is  a  human- 
interest  story  in  itself,  even  without  reading  matter. 


Far  from  being  a  mere  "eye-catching  picture,"  this  page,  as 
finally  worked  out,  has  its  roots  in  a  forceful  selling  story.  With 
an  Underwood,  the  imaginative  boy  brings  a  famous  character  of 
history  to  life  on  the  printed  page : 

All  the  romance  of  the  winning  of  the  wilderness  is  a  vivid,  thrilling 
reality  in  the  mind  of  the  boy  as  he  works  at  his  history  lesson.  Free 
from  the  drudgery  of  hand-writing ,  he  is  able  to  concentrate  every 
thought  on  his  ivork.    And  Daniel  Boone  comes  to  life! 

It  is  singularly  true,  after  the  most  exhaustive  study  of  adver- 
tising illustrations  in  various  kinds  of  media,  that  human  interest, 
as  a  source  of  subject  and  inspiration,  is  most  impressive  when  it 
lives  up  to  a  disciphnary  rule  of  being  irreproachably  human. 
An  unnatural  situation  cannot  be  made  effective,  however 
expertly  it  may  be  decked  in  technique  and  in  superior  execu- 


THE  HUMAN  INTEREST  ILLUSTRATION  241 

tion.  There  must  be  truth  in  the  concept,  and  the  public  is 
rather  fond  of  seeing  itself  in  pictures. 

Artists  of  more  sensative  understanding  have  given  material 
aid  by  the  use  of  models  which  are  akin  to  the  story.  The  por- 
trait gallery  of  advertising  art  really  reflects  types.  If  a  police- 
man is  to  figure  in  the  composition,  it  is  more  than  likely  that  a 
real  officer  will  pose;  if  a  Penrod  is  to  be  hero  for  a  day,  then  a 
Penrod  is  invited  to  the  studio.  Genuine  character  studies  have 
taken  the  place  of  the  deplorable  rubber  stamp  personages  that 
once  paraded  through  advertising  campaigns.  When  a  commer- 
cial illustration  lives  and  when  it  continues  its  activities  long 
after  its  original  appearance,  it  will  be  found  to  have  contained 
rich'  veins  of  humor  or  of  pathos,  conscientious  character  deline- 
ation, and  situations  drawn  from  everyday  experience. 

Illustrations  of  this  kind  are  valuable  as  advertising  because 
they  can  accomplish  the  following  objectives: 

Products  are  shown  in  service  and  under  natural  working 
conditions. 

Pictures  which  cause  the  prospect  to  use  his  own  imagination 
stimulate  a  desire  to  share  in  conditions  visualized. 

Although  the  copy  may  not  be  read,  the  illustration  forms  a 
complete  selling  message. 

The  advertiser's  subject  material  is  supplied  with  an  attractive, 
humanized  setting.  Sentiment  which  becomes  predominant  is 
often  far  more  effective  than  shop  talk. 

Products  which  are,  in  themselves,  rather  drab  and  undramatic 
may  be  made  to  take  on  a  new  appeal. 

The  human  interest  illustration  is  less  commercial.  It 
accomplishes  its  purpose  by  skilful  indirection.  The  prospect 
is  coaxed  into  an  interest  which  he  might  otherwise  not  entertain. 

Human  interest  pictures  are,  in  reality,  demonstrations  and 
doubly  convincing  because  praise  comes  from  an  apparently 
disinterested  source — the  user  himself. 


CHAPTER  XXX 
DISTINCTIVENESS  IN  PEN  DRAWINGS 

Full-color  campaigns  are  everywhere  in  evidence.  Yet  it  is 
by  no  means  either  possible  or  expedient  for  all  advertisers  to  go 
to  this  added  expense.  In  magazines  which  carry  large  volumes 
of  radiantly  attractive  color  illustrations,  the  question  of  compe- 
tition must  necessarily  come  up  for  consideration.  Is  it  arbi- 
trarily true  that,  all  else  being  equal,  the  advertiser  employing 
color  is  more  likely  to  monopolize  attention,  than  the  competitor, 
prehaps  in  the  same  line,  who  can  use  black  and  white  only? 

Here  technique  often  makes  up  for  the  difference  and  equalizes 
matters.  It  is  told  of  one  advertiser  that,  not  being  granted  an 
appropriation  which  would  bear  the  greatly  added  expense  of 
color  originals,  process  plates,  and  the  considerable  item  of  space, 
printing,  etc.,  he  set  out  to  meet  his  color  adversaries  by  the 
subtle  power  of  a  black  and  white  technique  which  should,  by  its 
artistic  charm  and  novelty,  compel  wide  popular  consideration. 

The  experiment  was  a  success.  The  series  of  illustrations 
was  more  widely  commented  upon  than  the  color  campaigns  of 
rivals. 

There  was  an  individuality  of  pen  technique  which  at  once 
arrested  the  attention,  even  of  those  wholly  unfamiliar  with  the 
production  features  of  advertising  and  art  mediums.  There 
has  always  been  a  fascination  attached  to  pen  drawings.  Per- 
haps it  has  to  do  with  the  fact  that  the  average  individual  looks 
upon  all  half-tones,  in  black  and  white,  as  work  of  the  camera 
and  of  photography,  while  line  illustrations  are  obviously  a 
creation.  Invention  and  ingenuity  have  entered  into  their 
production. 

Novelty,  will,  for  a  long  time  to  come,  appeal  to  the  masses 
not  understanding  the  principles  governing  artistic  creation. 
The  eye  and  the  imagination  are  both  lured  by  the  unconven- 
tional. There  is  something  of  magic  in  pen  and  ink.  Anditisnot 
necessarily  true  that  the  most  artistic  rendering  or  technique  is 
the  one  which  makes  the  deepest  impression.     Advertisers  have 

242 


DISTINCTIVENESS  IN  PEN  DRAWINGS 


243 


i     GORHAM 


Many  Gorham  patterns  are  faithful 
replicas  of  fine  old  work  of  earlier 
centuries.  The  spirit  of  the  great 
periods  of  art  is  inteUigently  inter- 
preted, and  exquisitely  wrought  in 
Sterling  Solid  Silver,  to  meet  modern 
conditions  and  requirements. 

Sterling  Silver' for  Everybody 

Highest  in  duality,  not  Highest 
in  price.  For  sale  at  respon- 
sible Jewelers  everywhere. 


Fig.  150. — Elsewhere,  for  another  advertising  purpose,  this  Gorham  scries 
has  been  commended.  In  the  present  case,  the  unique  and  painstaking  work  of 
4he  pen-and-ink  artist  is  the  feature.  Surfeited  by  photographs,  advertisers 
turn  to  such  line  plates  as  this — for  campaign  individuality. 


244  ILLUSTRATION  IN  ADVERTISING 

had  a  difficult  and  elusive  struggle  in  this  respect.  They  have 
prepared  illustrations  to  suit  themselves  in  many  instances  and 
to  measure  up  to  the  artistic  standards  of  the  advertising  pnv 
fession,  thinking  that  this  appreciation  of  the  best  naturally 
reached  out  to  their  audiences.  It  has  repeatedly  occurred 
that  a  baffling  pen  illustration  has  drawn  a  larger  audience  than 
an  elaborate  half-tone  original  of  a  full-color  canvas,  painted 
by  an  artist  of  note.  These  are  facts  which  it  is  unprofitable  to 
overlook. 

A  story  comes  to  mind  of  an  architect  who,  having  made  a 
phenomenal  success,  was  asked  to  what  he  attributed  his  fol- 
lowing, for  the  houses  he  designed  were  in  no  sense  artistic. 
He  said: 

I  have  found  that  the  majority  of  people,  in  this  generation  at  least, 
are  attracted  to  detail.  I  put  many  extra  touches  on  every  house. 
There  are  fussy  things  and  intricate  designs.  Roofs  are  cut  into  peculiar 
patches.  The  modern  generation  is  intrigued  by  pattern  and  detail 
and  that  which  is  odd. 

The  average  magazine  or  newspaper  reader  looks  with  a 
certain  amount  of  awe  upon  techniques  which  are  somewhat 
outside  his  complete  understanding.  Etching  the  Lord's  Prayer 
on  the  head  of  a  pin  has  never  ceased  to  make  people  whisper 
when  they  speak  of  it.  And  when  an  artist  conscientiously 
reproduces  detail  with  a  pen,  he  does  something  which  makes 
readers  marvel.  They  pause  to  think  of  the  workmanship, 
the  patience,  the  knowledge,  and  the  skill  which  have  entered 
into  the  picture.  It  is  permissible  to  declare,  therefore,  that 
pen  technique  is  productive  of  serious  consideration. 

Weary  of  the  monotony  of  original  wash  drawings  and  full- 
color  illustrations  and  the  inevitable  black  and  white  effects,  as 
represented  by  dry  brush,  charcoal,  pencil,  vivid  contrasts,  and 
ultra-commercialism,  world  without  end,  certain  resourceful 
advertisers  occasionally  turn  to  this  one  technique  which  baffles 
the  amateur's  analysis.  Yet  it  is  little  more  than  a  blend  of 
immeasurable  detail  and  a  close  adherence  to  realism.  It  is 
photography  in  pen  and  ink,  as  it  were. 

Several  national  campaigns  based  on  this  principle  are  of 
practical  interest.  In  each  case,  actual  technique,  in  black  and 
white,  has  overcome  somewhat  the  handicap  of  lack  of  color, 
in  the  midst  of  color.     One  example,  destined  to  be  representative 


DISTINCTIVENESS  IN  PEN  DRAWINGS 


245 


Fia.  151. — The  same  subject,  handled  in  two  shrewdly  interesting  composi- 
tions. A  product  which  would  be  commonly  shown  in  color  is  made  effective 
through  the  use  of  a  pen  technique  so  unusual,  so  intricate,  so  remarkable  as  an 
art  "feat"  that  the  public  quickly  responds  with  the  tribute  of  universal  com- 
mendation.    The  artist  literally  "Paints  with  his  pen." 


246 


ILLUSTRATION  IN  ADVERTISING 


of  its  class  for  many  years  to  come,  was  employed  in  l^ehalf  of 
the  Gorham  Company,  jewelers  and  dealers  in  silverware. 
That  traditions  must  be  upheld  was  the  first  consideration. 
The  articles  to  be  pictured  were  choice  pieces  of  silver  and 
tablecraft.  A  series  was  produced  which  created  little  less  than 
a  public  furore  and  the  admiration  of  advertising  men,  artists, 
and  the  professional  experts.  Yet  its  technique  and  its  basic 
idea  was,  after  all,  as  old  almost,  as  the  art  of  pen  and  ink.  It 
meant  a  revival  of  detailed  and  shaded  illustrations. 


Fig.  152. — Homely  subjects  are  given  added  interest  and  eye  appeal  through  the 
ability  of  the  artist  to  make  them  artistically  attractive. 


Each  grouping  of  tableware,  of  cut  glass,  and  of  immaculate 
accessories,  was  arranged,  of  course,  in  artistic  composition. 
The  articles  were  then  photographed  with  as  much  resource  as 
if  the  camera  studies  were  to  be  reproduced.  From  these  bases 
came  delicate  pen  drawings,  perfectly  reproducing  the  details 
of  each  product,  yet  tempered  with  idealism. 

Nothing  essential  was  lost  because  of  the  fact  that  color  or 
photographic  detail  were  missing.  The  artist  had  caught  every 
shadow  and  high  light,  every  delicacy  of  pose  and  pattern,  every 
subtle  hint  of  material  used.     The  glint  of  silver  was  there 


DISTINCTIVENESS  IN  PEN  DRAWINGS 


247 


unmistakably.  A  bone  handle  on  a  knife,  an  ivory  finish,  the 
candle  in  a  candlestick,  flowers  in  an  exquisite  vase  successfully 
translated  into  terms  of  pen  strokes. 


Fig.  153. — -The  artist,  in  this  pen  drawing,  has  so  faithfully  sought  realism 
and  detail,  that  no  photograph  could  more  satisfactorily  reproduce  the  article 
advertised.  From  the  public  standpoint,  a  realization  of  this  is  coupled  with 
amazement  over  the  marvels  of  the  method. 


Fig.  154. — The  delineation  of  foods  is  considered  exceedingly  difficult  in  pen 
and  ink.  This  fact  has  forced  advertisers  of  such  products  into  full  color  of  the 
most  expensive  character.  But  that  realism  can  be  found  at  the  tip  of  an 
artist's  pen  is  verified  by  such  remarkable  studies  as  the  above.  Sheer  wonder- 
ment occurs  over  the  ingenuity  of  the  intricate  technique. 


And,  all  the  while,  the  eye  was  conscious  of  a  masterful  repre- 
sentation.    How  could  human  hand  lay  lines  with  such  adroit 


248 


ILLUSTRATION  IN  ADVERTISING 


skill?  Technique  had  begun  where  color  left  off.  Interest  in 
the  method  was  not  to  be  outdone  by  the  extravaganza  of  process 
plates.     Those  who  saw  the  illustrations  were  aware  that  a  very 


Fig.  1o5.- — Uncommercial  to  a  degree,  as  the  average  advertising  illustration 
is  understood  and  "smacking"  more  of  the  story  type.  Effective,  particularly, 
because  drawn  by  an  illustrator  who  has  been  identified  wth  story  illustration. 


■^«*77T7li;^;|itSS 


Fig.  156. — A  very  unique,  light-shade  pen  technique.     It  is  used  to  advertise 
green-houses  and  therefore  must  appeal  to  those  of  artistic  inclination. 

fine  and  worthy  thing  had  been  done,  a  thing  which  required 
genius. 

Sometimes  it  is  a  popular  professional  pose  to  reason  that 
the  true  success  in  conunercial  art  never  permits  the  prospect  to 


DISTINCTIVENESS  IN  PEN  DRAWINGS 


249 


think  of  mediums,  of  execution,  of  how  the  thing  is  done  and 
that  the  illustration,  to  do  its  work  well,  must,  of  necessity, 
forget  any  consciousness  of  the  workman's  own  craft.  All  of 
which  is  affectation.  These  illustrations  were  altogether  atmos- 
pheric, charming,  and  commercially  effective.  They  merely 
added  a  wonder  technique  to  professional  posings.  And  they 
struck  a  new  note.  Nothing  quite  like  them  had  appeared  up  to 
date  or  within  the  memory  of  their  generation.     They  were 


--to  an  Appreciative  Husband 

Fig.  157. — A  pen  drawing  made  from  a  photograph,  and  done  with  the 
mo.st  exacting  care  as  to  infinite  detail.  More  interesting  than  any  photograph 
could  possibly  be. 

artistically  different  and,  being  original,  as  has  been  repeatedly 
pointed  out,  is  an  advertising  obligation.  Here  was  a  case  where 
an  inherently  beautiful  product  was  glorified  through  technique, 
to  the  point  where  even  color  and  half-tone  plates  could  not  hope 
to  compete. 

What  of  the  homely  product,  which,  even  in  its  most  likely 
representation,  in  matters  of  art,  is  by  no  means  beautiful?  It  is 
here,  again,  that  pen  technique  is  of  assistance.     It  brings  out 


250 


ILLUSTRATION  IN  ADVERTISING 


I  ..r\'un 


13/101TD3TMOO 


Fig.  158. — A  pen  and  ink  illustration  done  in  the  popular  story-illustration 
school.  Incidentally,  the  artist  is  known  as  a  fiction-story  technician,  and  the 
campaign  gains  because  of  this. 


FiQ.  159. — A  bold,  brutal,  open-line  pen  and  ink  drawing  for  poor-i)aper 
reproduction,  but  artistic,  nevertheless.  Successful  for  ncw.spapor  work  but 
just  as  attractive  when  employed  in  magazines,  on  better  paper. 


DISTINCTIVENESS  IN  PEN  DRAWINGS 


251 


the  interesting  fact  that  regardless  of  theme  or  subject,  the 
artist's  pen  may  weave  true  romance  around  the  humble  and  the 
ambitious  alike.  An  advertiser  of  pancake  flour  has  so  embel- 
lished homely  household  themes,  such  as  platters  of  flapjacks, 
syrup  jugs,  and  the  like,  that  they  are  "paintings  in  pen  and 
ink."  Examples  here  reproduced  show  the  marvelous  possi- 
bilities in  this  direction. 

The  obvious  question  is  how  may  illustrations  of  this  peculiar 
type  be  produced?  Is  there  some  special  method  of  procedure? 
The  answer  is  equally  obvious.     It  is  largely  a  matter  of  technical 


MATCH 


BKAY 


Fig.  160. — An  illustration  which  is  known  as  a  non-commercial  type,  varying 
widely  from  advertising  pictures  as  customarily  seen.  It  has  the  "story" 
flavor. 


skill  on  the  part  of  the  artist  himself.  A  striking  campaign  of 
this  class  was  produced  by  a  middle-aged  man  who  had  been 
employed  at  Washington  as  an  engraver  of  bank  notes.  In 
another  instance,  the  artist  came  from  a  talented  family  specializ- 
ing in  pen  drawings  of  landscapes. 

Unquestionably,  it  is  a  specilization — nor  is  this  technique  to 
be  confused  with  any  of  the  many  variants — where  delicate, 
detailed  pen  lines  from  the  basis  of  a  school,  such  as  imitation 
wood  engravings.  It  is  a  technique  demanding  patience  and 
attention  to  fine  detail.  It  means  echoing  the  photograph,  in 
all  its  realism,  with  pen  strokes.     It  is  a  rather  confusing  combina- 


252  ILLUSTRATION  IN  ADVERTISING 

tion  of  the  commercial  and  the  beautiful,  because  these  draw- 
ings are  realistic  as  well  as  artistic. 

It  must  be  admitted  that  by  two  processes  alone  are  such 
results  obtained.  One  is  to  pose  the  object,  photograph  it,  and 
from  the  camera  study,  make  a  silver  print.  Over  this,  the  artist 
works,  eliminating  and  modifying,  yet  always  conscious  of  the 
copy  beneath  his  pen.  He  gives  a  true  interpretation,  as  to 
detail,  combined  with  occasional  touches  of  the  free,  the  sketchy. 


Fig.  IGl. — The  original  may  have  been  inspired  by  a  photograph  but  the 
pen  has  given  it  greatly  added  interest.  Yet  not  a  particle  of  important  atmos- 
pheric detail  has  been  lost  in  this  art  transition. 

and  the  atmospheric.  And  all  the  while,  it  is  the  artist  within 
him  which  dictates  every  touch  of  his  pen.  There  is  no  adequate 
manner  of  expressing  how  it  can  be  done  for  the  artist  feels  his  way. 
But  with  a  photographic  silver  print  as  the  base,  the  realism 
which  is  so  important  a  phase  of  the  technique  becomes  well  nigh 
arbitrary.  Take  a  study  of  a  pan  of  biscuits,  for  example. 
It  is  doubtful  if  the  same  results  could  be  obtained  were  the 
artist  to  pose  a  pan  of  biscuits  and  draw  them  as  they  appear  to 
him.  The  fidelity  of  detail  would  not  be  interpreted.  The 
salt  print  brings  these  very  fine  points  out. 


DISTINCTIVENESS  IN  PEN  DRAWINGS 


253 


Other  artists  use  a  photograph  for  copying  purposes,  panto- 
graphing  it  on  white  drawing  paper,  and,  with  the  camera  study- 
always  before  them,  they  interpret  the  detail  in  their  own  artistic 
mood.  The  copying  method  is  considered  the  more  likely 
method.     It  is  not  so  slavish  as  the  silver  print. 

To  summarize,  there  are  times  when  sheer  power  of  technique 
may  seem  more  worth  while  than  presumably  ambitious  and 
overwhelming    full-color    and    wash    illustrations    by   powerful 


Fig.  162. — One  of  a  series  for  Karpen  Furniture.  Very  beautiful  pen  and 
ink  detailed  study  of  an  interior  made  to  compete  with  full-color,  by  virtue  of 
interesting  technique. 

competitors.  In  such  a  demand  the  pen  and  ink  detailed  school 
is  assured  of  an  interested,  often  a  fascinated  audience,  attracted 
equally  by  the  subject  and  by  the  ingenuity  of  the  method. 
Several  years  ago,  in  a  salon  exhibit  in  Paris,  two  canvasses  were 
side  by  side.  One  was  a  large  and  impressive  futuristic  subject, 
bold  as  to  color  and  commanding  as  to  method;  the  other  was 
a  miniature  painting,  done  in  shades  of  sepia  and  a  monotone. 
It  was  not  more  than  eight  inches  square,  but  it  depicted  a 
cavalry  charge,  and,  despite  the  thundering  avalanche  of  men 
and  horses,  dust  and  confusion,  the  buttons  on  coats  could  be 
seen,  the  pupils  in  startled  eyes,  the  glint  on  a  sabre.     Here 


254 


ILLUSTRATION  IN  ADVERTISING 


was  a  startling  triumph  of  infinite  detail,  yet,  withal,  artistic 
which  is  a  rare  combination. 

Artists  did  not  care  for  the  small  painting.  They  saw  through 
its  sham,  as  was  to  be  expected.  The  public,  unschooled,  saw  one 
canvas  in  that  room  only.  Even  the  neighboring  large  colorful 
painting,  done  by  a  master,  could  not  interrupt  the  trend  of  their 
tribute. 

"But  see!"  they  would  exclaim,  quite  breathlessly,  "the  artist 
has  shown  the  nails  in  the  horseshoes.  He  has  painted  every 
link  in  every  chain  of  a  scabbard.  He  has  even  gone  so  far  as 
to  reproduce  the  insignia  on  the  tops  of  metal  buttons!  Is  it 
not  wonderful!  marvelous!" 


,-,^     W    .•■'■*-';^^'^. . 


Fig.   1G3.- — -The  artistry  of  pen  and  ink,  interpreting  a  still-life  study,  made  to 
give  character  throughout  an  entire  campaign. 

These  ingenious  pen  drawings  which  leave  nothing  to  the  imagi- 
nation, and  which  represent,  on  their  very  face,  an  almost 
immeasurable  amount  of  exacting  human  effort,  do  not  fail  to 
appeal  to  such  audiences.  Sometimes,  they  are  artistic;  some- 
times precise  and  unyielding  in  their  obvious  desire  for  effect; 
occasionally,  they  are  worthy  in  every  way.  At  any  rate,  they 
play  their  part  in  relieving  the  monotony  of  advertising  illus- 
tration. But  the  majority  of  them  arc  valuable  to  the  adver- 
tiser as  expositions  of  what  can  be  done  with  a  very  fine  drawing 
pen  and  a  bottle  of  jet  black  ink.  They  prove  that  the  pen 
technique  can  lend  itself  to  the  most  thorough  interpretations  of 
intricate  detail  and  that  an  artist,  temperamentally  inclined  to 
this  school,  can,  indeed,  "paint  with  a  pen." 


CHAPTER  XXXI 
APPLICATIONS  OF  THE  WOODCUT  TECHNIQUE 

The  modern  artist  may  have  lost  the  skill  which  should  have 
been  a  heritage  handed  down  from  wood-engravers  of  old,  but 
he  has  developed  in  its  stead  an  uncanny  aptitude  for  imitating 
the  technique  made  famous  by  those  earlier  geniuses  who,  with 
steady  hands  and  an  abiding  faith  in  the  importance  of  their 
field,  transformed  blocks  of  wood  into  memorials  of  art. 

In  other  words,  the  technique  of  the  wood  engraver  is  so 
marvelously  simulated  today,  with  other  tools  than  his,  that  some- 
times it  is  difficult  indeed  to  select  the  real  from  the  bogus,  the 
imitation  from  the  revival.  And,  now  and  again,  an  advertiser, 
striving  for  individuality,  for  the  outward,  physical  designations 
of  pride  in  preparation,  actually  employs  a  veteran,  some  artis- 
tic survivor,  to  whom  his  block  of  wood  and  his  engraving  tools 
mean  more  than  brush  or  pen. 

Commercially  speaking,  the  woodcut,  even  to  this  day,  serves 
a  purpose  which  no  subsequent  process  or  technique  has  managed 
to  excel.  The  advertiser  who  must  use  small  illustrations  for 
printing  on  poor  paper  stock  and  whose  subject  material  is 
cluttered  with  essential  detail,  can  be  sure  of  the  printing  quali- 
ties of  the  wood  engraving,  although  the  wood  block  itself  is  not 
finally  used  but  rather  a  line  engraving  made  from  its  proof, 
electro,  and  matrix. 

Something  in  the  sturdy  decision  and  precision  of  line  makes 
for  clarity,  for  printability,  and  for  contrasts  which  do  not  become 
congested.  This  is  particularly  true  in  the  case  of  little  cuts  of 
the  catalog  variety,  which  must  depict  the  details  of  the  prod- 
uct, the  works  of  a  watch,  the  fine  detail  of  jewelry  and  the 
intricacies  of  articles  which  are  studied,  as  one  of  the  steps  in 
closing  the  sale. 

They  are  not  as  artistic  as  pen  and  ink  creations,  but  they 
print  well,  under  any  and  all  conditions,  and  faithfully  represent 
the  most  elaborate  patterns  and  the  most  complicated  mechan- 
isms.    Nothing  need  be  lost  in  a  woodcut  illustration. 

255 


256 


ILLUSTRATION  IN  ADVERTISING 


That  the  woodcut  technique  should  print,  in  small  space,  on 
poor  paper,  where  original  pen  drawings  fail,  or  are  at  least 
partially  inadequate,  may  be  traced  to  the  quality  of  contrast 
and  the  methodical  manner  of  shading  lines.     In  wood  engrav- 


FiG.  164. — A  most  remarkable  pen  drawing,  executed  in  the  manner  of  the  wood- 
cut  of   old. 

ings  of  this  specific  type,  blacks  are  invariably  placed  against 
white  areas.  There  is  a  sureness  of  line  and  a  directness  of 
lights  and  of  shadows. 


Fig.  165. — Digni  with  the  ntiiiDspluTc  of 

the  wood  engraving,  whutlicr  iium  actual  wood  blocks  or  imitated  in  pen  and 
ink. 

The  advertiser  in  farm  journals,  using  small  space,  and  com- 
pelled to  show,  nevertheless,  perhaps  a  farm  implement,  in  careful 
detail,  in  a  two-inch  square  limit,  often  turns  to  original  woodcuts 


APPLICATIONS  OF  THE  WOODCUT  TECHNIQUE        257 

as  perhaps  the  sole  solution  of  his  problem.  In  this  case,  they 
are  genuine  wood  blocks  and  not  imitations  of  wood  engravings. 
Advertisers  of  recent  years,  however,  have  not  for  the  most 
part  turned  to  the  woodcut  atmosphere  and  technique  neces- 
sarily as  a  mechanical  means  of  securing  detail  pictures  which 
will  print  under  adverse  circumstances.  The  far  larger  incentive 
has  been  one  of  an  ambitious  desire  for  new  campaign  character, 
a  new  school,  forgotten  by  the  present  generation,  an  art  atmos- 
phere, not  customarily  observed. 


Fig.   166. — A  notable  series,  tliis,  with  the  woodcut  spirit  admirably  sustained. 

The  woodcut  spirit  adds  another  technique  to  the  many  now 
in  use.  The  same  difference  of  opinion  which  helps  make  the 
world  go  'round  is  also  an  active  agency  in  keeping  commercial 
art  out  of  a  rut.  One  of  its  saving  graces  is  its  truly  marvelous 
variety.     Its  moods  are  necessarily  many. 

It  is  by  no  means  easy,  however,  to  secure  fine  examples  of 
wood  engraving  in  the  present  era,  because  of  counter-irritants 
which  are  not  congenial  to  the  artist.  He  is  scarcely  one  to  be 
rushed;  it  will  not  do  to  stand  over  him  with  the  lash  of  emer- 
gency. The  wood  engraver  proceeds  with  leisurely  skill.  And 
since  there  are  comparatively  few  experts  nowadays,  prices  are 
apt  to  be  high.  Then  there  is  the  element  of  chance.  Anything 
may  happen  to  a  wood  block,  even  at  the  moment  when  forms 


258 


ILLUSTRATION  IN  ADVERTISING 


are  ready  to  close.  Corrections,  obviously,  are  a  matter  of 
hazard  and  technical  hardship.  The  changeable  advertiser, 
who  would  make  innumerable  corrections,  is  not  welcomed  by 
any  responsible  wood  engraver.  It  is  an  art  which  can  not 
invite  the  muddling,  meddhng  hand  of  the  outsider. 

Recognizing  the  artistic  possibilities  of  a  revival  of  the  wood- 
cut style,  particularly  for  advertising  purposes,  where  it  has 
made  its  appearance  intermittently,  guardedly,  and  in  no  great 
volume  adv(Mtisers  developed  this  novel  substitute — the  original 


Fio.    167. — Despite   the   sreat  reduction,   neccssarj''  in   a  limited   hook   display 
of  this  kind,  the  refinements  of  the  technique  are  obvious. 


drawing  which,  as  has  been  claimed  for  it,  simulates  the  wood 
block  efforts  of  even  the  veteran  engraver.  Resourceful  artists 
have  their  individual  methods  of  arriving  at  the  result,  but  by 
far  the  most  popular  is  the  one  wherein  a  specific  kind  of 
"treated"  drawing  board  or  paper  lends  ample  assistance. 

These  drawing  surfaces  are  unique  in  that  they  have  a  chalky 
coat  which  can  be  scratched  away  easily  enough  with  any  sharp 
instrument.  Some  artists  employ  such  tools  as  are  in  the  studio 
of  the  wood  engraver.  The  woodcut  effects,  shadings,  areas 
of  light  and  shade,  and  rigid  certainty  of  line,  are  encouraged, 


APPLICATIONS  OF  THE  WOODCUT  TECHNIQUE        259 

while  working  on  these  specially  treated  papers,  because  the 
stroke  and  the  technical  methods  are  similar, 

A  background  is  desired,  for  example  which  shall  be  made  up 
of  a  series  of  exact  lines,  executed  with  absolute  uniformity,  a 
technique  common  to  wood  engraving.  The  artist  paints  in 
the  area  in  solid  black,  either  with  ink  or  with  water-color  paint, 
allows  it  to  dry  thoroughly,  and  then  etches  out  the  white  areas 
with  a  sharp  instrument,  made  in  varying  designs  for  this  purpose. 
(A  noted  specialist  is  content  with  a  pen  knife  blade.) 


Fig.  168. — The  woodout  techniquo   mingled  with  free  pen  handling.     As  a  relief 
from  the  inevitable  halftone,  such  illustrations  are  highly  desirable. 

The  design  is  literally  scratched  on  the  chalky  surface  the 
usual  procedure  being  reversed,  in  that  white  appears,  as  this 
chalk  is  cut  away.  This,  however,  is  but  one  of  the  possibilities 
of  the  special  drawing  board.  The  chalk  surface,  exceedingly 
hard,  does  not  prevent  the  use  of  a  pen  or  a  brush.  With  equal 
facility,  the  artist  may  employ  black.  There  is  just  enough 
resistance  to  create  an  individualistic  line. 

To  paint  dark  areas  in  solid  black  and  then  to  secure  half 
tones  and  shading,  by  means  of  scratching  out  white  lines  of 
varing  weights  is,  of  course,  to  produce  a  technique  impossible 
with  the  reverse  method.     No  pen,  working  on  a  white  surface, 


260 


ILLUSTRATION  IN  ADVERTISING 


could  hope  to  accomplish  the  same  distinctive  character  of  line 
or  of  shaded  tone.  One  of  the  admirable  utilitarian  qualities  of 
the  surfaced  drawing  board  is  the  opportunity  accorded  for 
working  in  deft  little  highlights  of  mere  pin  points  at  the  last 
moment. 


In..  Ki'J.  A  iii().->t  ilTuctive  design,  refined  as  to  iitnioiplicre  ;md  coin 
luid  vying  successfully  with  full  color  rendering  of  the  same  subject 
publications. 


position 
in  some 


The  artist,  all  the  while,  has  patterned  his  technique  after  the 
wood  engraving  style.  That  has  been  his  model,  his  guide  and 
his  inspiration. 

The  effect  depends  largely  upon  the  quality  of  line  used. 
Lines,  regardless  of  their  weight,  are  placed  side  by  side  with 
unerring  regularity,  fluid  smoothness.  It  is  a  technique  requiring 
infinite  patience,  time,  and  clear  vision.  It  is  not  scratchy, 
sketchy,   or  free.     The  woodcut  is  formal,  methodical,  sure. 


APPLICATIONS  OF  THE  WOODCUT  TECHNIQUE        261 

The  imitation  woodcut  illustration  is  produced  by  some  crafts- 
men without  the  aid  of  artificial  accessories.     They  weave  the 


•r.  ^Ji^'  ^l^'~'^   fl®^   °^  7""^^  drawings   for   magazine   work   was   interpreted 
scr  '^  technique  when  poorer  paper  stock  prohibited  the  fine  halftone 


Fig.  171.— Artists  have  learned  to  make  pen  drawings  which  embrace  many  of 
tHe  mtercstmg  and  complex  qualities  of  the  woodcut. 

technique  with  a  pen.     Needless  to  say,  it  is  a  long  process  and 
one  demanding  a  keen  appreciation  of  fine  detail.     There  may 


262 


ILLUSTRATION  IN  ADVERTISING 


be  need  of  stipplings  of  white,  or  white  lines,  closely  placed,  to 
produce  certain  effects,  and  sometimes  these  are  done  with  a  pen, 
in  white  paint  or  ink.  There  is  always  danger,  however,  of  the 
displacement  of  this  white:  it  may  peel  or  crack.     The  drawing 


A  Bottle  of  MUK  is  a  Bottle  of  Hedath 


Fig.   172. — AA  oodcul    atiuosidicrc    retained    llinMiiili    an    entire    .--erii's,    tlu'rc'hy 
providing   desirable   continuity. 

becomes  highly  perishable.     Because  of  this,  the  other  process  of 
scratching  out  white  is  preferred. 

Reduction  becomes  a  vital  consideration.  Originals  made 
several  times  larger  than  they  are  to  appear  on  the  printed  page 
often  result  in  disappointment.  The  ideal  copy  is  same  size, 
although  this  naturally  cramps  the  artist  in  his  work  and  makes 


APPLICATIONS  OF  THE   WOODCUT  TECHNIQUE        263 


need  for  even  greater  precision.  Where  a  full-fledged  wood 
engraving  might  easily  require  several  weeks  in  its  preparation, 
a  pen  imitation  of  it  may  be  produced  in  a  day  or  so.  So  remark- 
able has  been  the  progress  made  that,  in  many  notable  advertising 


A  New  4-Pa55enber  Coupe 

This  car  is  Dodge  Brothers  response  to  a  definite 
demand  — 

A  high  grade  coupe  of  moderate  weight  and  size 
thtt  will  seat  four  adult  passengers  in  genuine 
comfort. 

The  body  is  an  admirable  example  of  fine  coach 
building.  Low.  graceful  <imartly  upholstered  and 
attractively  finished  in  Dodge  Brothers  blue  it 
reflects  dignity  and  distinct  on  m  every  line 

Above  all.  the  4passen 
istically  a   Dodge  Brothe 
all  the  attributes  of  cor 
service   for   which   more   than 
Brothers  Motor  Cars  are  favorably  kn 
out  the  world. 


Fig.  173.     Member    of    a   family   of   woodcut   spirit  illustrations   retaining   a 
majority  of  the  methods  of  the  technique  of  long  ago. 

campaigns,  it  has  baffled  the  most  observing  and  studious  eyes — 
this  adaption  of  the  wood  block  technique,  as  a  short  cut  to 
almost  identical  results. 

A  significant  development,  however,  reaches  into  other  fields. 
Artists,  while  experimenting  with  the  pen  imitation  of  the  wood- 


264 


ILLUSTRATION  IN  ADVERTISING 


cut,  have  come  upon  accidental  techniques,  which  often  take  on 
something  of  the  pen  and  something  of  the  wood  engraver's 
sharp-edged  and  pointed  instruments.  These  drawings  are  not 
quite  of  the  woodcut  school,  nor  have  they  the  freedom  of  the 
conventional  pen  illustration. 

It  occasionally  transpired  that,  after  an  artist  has  completed  a 
colorful  pen  and  ink  illustration,  another  will  work  over  it  with 
a  sharp  knife  or  with  a  pen  and  white  ink,  and  make  such  addi- 


FiG.  174. — It  is  true  of  the  "woodcut  technique"  that  it  makes  an  equally 
handsome  and  distinctive  appearance  on  poor  paper  stock  or  on  the  finest  of 
glazed  surfaces. 


tions  and  changes  as  will  give  the  drawing  a  hint  of  the  woodcut 
technique,  although  in  no  sense  attempting  its  100  per  cent 
interpretation. 

Woodcut  illustration,  or  imitations  of  their  technique,  are  used 
for  the  following  definite  reasons: 

To  provide  individuality  of  art  atmosphere  throughout  a 
connected  campaign. 

To  get  away  from  the  sameness  of  half-tone  work  and  of  the 
more  conventional  line  drawings,  as  observed  in  the  average 
periodical. 


APPLICATIONS  OF  THE  WOODCUT  TECHNIQUE        265 

To  suggest  quality  and  aloofness. 

To  insure  printability,  where  much  detail  must  be  shown  in 
very  small  space  and  on  poor  paper. 

To  guarantee  workman-like  interpretation  of  complex  patterns, 
mechanical  details,  etc.  in  catalog  illustrations — particularly  when 
paper  used  in  large-edition  books  is  porous  and  coarse-grained. 


Fig.  175. — Full  pa^rc-  ■■n  ihc  i„„n-  i.ainT 
beautifully  in  this  series  for  Ford  Tractors, 
proof"  in  this  respect. 


-luck    of   farm    journals,    printed 
The  woodcut  technique  is  "fool- 


To  give  substance,  character,  and  weight  to  subjects  which 
might  otherwise  not  possess  these  qualities. 

To  insure  adequate  reproduction  in  campaigns  which  are  to 
appear  very  largely  in  farm  journals  and  similar  periodicals, 
printed  on  inferior  grades  of  paper  stock. 


266  ILLUSTRATION  IN  ADVERTISING 

To  guarantee  faithful  and  "life-like"  showings  of  products 
which  depend  for  their  interest  and  their  efficiency  upon  the 
amount  of  detail  introduced. 

The  fact  that  in  the  woodcut  technique  two  major  elements — 
l)l(MKling  the  artistic  with  the  technically  detailed  and  showing  the 
minute  points  of  mechanical,  structural  interest — may  be  com- 
bined is  an  incentive  to  its  use  under  certain  conditions.  For 
many  years,  the  advertising  of  Ford  automobiles  and  tractors 
had  been  singularly  crude,  due,  in  no  small  measure,  to  the 
system  w'hich  made  it  arbitrary  for  each  individual  selling  agent 
to  create  his  own  newspaper  illustrations  and  copy.  A  change  of 
policy  dictated  the  surrounding  of  Ford  products  with  more  of 
a  quality  appeal.  Their  homeliness  need  not  necessarily  take 
the  form  of  ugliness.  Surely,  an  atmosphere  of  refinement  could 
be  created  through  art  technique. 

The  tractor,  for  example,  belongs  in  the  homely  class.  Hereto- 
fore, when  pictured,  the  drawings  showed  the  machine  in  its 
every  element  of  detail.  The  spirit  of  the  new  regime  of  illus- 
trations was  wholly  different,  although  making  a  not  too  great 
sacrifice  to  the  artistic.  By  employing  a  modified  woodcut 
technique,  every  essential  fragment  of  mechanical  detail  was 
brought  out,  in  a  manner  calculated  to  satisfy  the  prospect  who 
looked  for  just  these  essentials.  But  in  the  surrounding  panora- 
mic investiture,  in  figures,  in  back-grounds,  rich  in  romance,  the 
unusual  and  refining  influence  of  woodcut  technique  transformed 
a  campaign  once  singularly  commonplace. 

The  Ford  tractor,  if  it  sold  for  ten  time  its  present  price,  could 
not  be  surrounded  by  a  more  artistic  atmosphere.  The  artist  had 
raised  it  to  high  estate,  commensurate  with  the  service  performed. 


CHAPTER  XXXII 
HALF-TONE  SUBJECTS  INTERPRETED  IN  LINE 

Illustrations,  from  photographs  or  from  original  wash  draw- 
ings, as  used  on  the  good  paper  of  magazines,  will  not  reproduce 
successfully  in  newspapers  and  farm  journals;  if  transformed 
into  pen  and  ink,  they  will  inevitably  lose.  In  this  event  what 
can  the  advertiser  do? 

Great  progress  has  been  made  in  the  production  of  coarse- 
screen  half-tones  for  poor  paper  printing,  but  there  is  a  long 
distance  to  travel,  as  yet  and  the  hazards  are  innumerable. 

Pen-and-ink  is,  in  itself,  a  delightfully  artistic  medium  and  it 
is  an  error  to  assume  that  any  subject  need  lose  its  charm,  its 
atmosphere,  its  aesthetic  appeal,  merely  because  the  secondary 
campaign  is  to  be  rendered  in  this  technique.  It  has  happened, 
as  a  matter  of  fact,  that  pen  reproductions  have  far  exceeded  their 
half-tone  and  wash  originals,  in  the  touches  of  delicacy  and  art- 
istry which  are  the  aim  of  the  conscientious  production  manager. 

Examples  of  the  "before  and  after"  school  accompany  this 
chapter  and  constitute  a  practical  lesson  in  the  artistic  possi- 
bilities of  the  transition  from  one  medium  to  another.  But 
it  can  be  no  mere  casual  and  mechanical  process.  If,  as  it  some- 
times happens,  the  artist  who  painted  the  original  is  not  used  to 
pen-and-ink  or  dry-brush  and  is  not  qualified  to  make  the  second 
drawing,  then  another  artist  of  equal  artistic  ability  and  judgment 
should  be  assigned  to  the  task,  and  must  be  in  complete  sympathy 
with  it.  To  look  upon  it  as  a  mere  second-rate  assignment  and  to 
hurry  it  through  without  study  or  proper  care  is  to  encourage 
failure.  There  are  two  fundamental  methods  of  producing  a 
line  copy  from  a  half-tone  illustration :  one  is  to  begin  a  new  illus- 
tration, on  drawing  paper  or  board,  traced  from  the  original;  the 
other  is  to  use  the  silver  print.  Both  have  their  practical  virtues, 
but  for  the  more  satisfactory  results,  the  former  plan  is  by  far  the 
best. 

As  a  rule,  original  wash  drawings  for  half-tone  reproduction 
are  made  rather  large.     To  trace  them  on  a  clean  sheet  of  paper 

267 


268 


ILLUSTRATIOX  IX  ADVERTISING 


and  to  proceed  with  the  pen  copy  would  be,  in  all  likelihood,  to 
arrive  at  copy  which  suffers  from  too  much  reduction  in  the  plate- 
making.  An  illustration  in  pen  and  ink  or  in  dry  brush  might 
present  a  handsome  appearance  as  it  came  from  the  artist's 
studio,  yet  reproduce  miserably  on  poor  paper  or  magazine  stock. 
This  great  reduction  tends  to  make  detail  fill-in,  become  con- 
gested and  mussy.  In  the  majority  of  cases,  line  illustrations  are 
at  their  best  w^hen  the  originals  are  not  much  larger  than  their 
final  showing. 

But  there  is  another  reason  why  copies  made  on  a  clean  sheet 
of  paper,  rather  than  over  silver  prints  arc  more  desirable.     The 


Fig.  17G. 

artist  is  somewhat  handicapped  in  the  silver  prmt  process;  he 
can  never  feel  quite  at  ease.  He  is  conscious  at  all  times  of 
tracing  his  subject.  In  addition  the  character  of  the  silver  print 
means  working  in  the  dark.  The  pen  traces  over  the  complete 
subject,  with  all  of  its  original  values,  and  this  leaves  the  artist 
not  quite  sure  of  what  has  been  done  until  the  print  is  bleached 
white  with  acid.  It  is  unsatisfactory  to  work  over  a  print  after 
the  bleaching,  although  it  can  be  done,  after  a  fashion.  Such 
additions  seem  forced. 

Although  the  conventional  pen  techniques  are  possible  on  a 
silver  print,  the  character  of  the  smooth-surfaced  paper  prohibits 
any  considerable  use  of  the  dry-brush  technique,  with  all  of  its 


HALF-TONE  SUBJECTS  INTERPRETED  IN  LINE 


269 


subtleties  and  intermediate  shades.  It  would  appear,  then,  that 
the  best  process  is  that  of  making  an  entirely  new  drawing  on  a 
paper  or  a  board  which  is  thoroughly  receptive  to  the  technique 
desired. 

Ben  Day  tints  can  be  mingled  with  the  pen  and  ink,  these 
tones  suggested  by  varying  strengths  of  blue  paint,  washed  over 
the  design,  or  on  a  tissue  overlay.  No  attempt  should  be  made 
to  wash  a  blue  tint  on  a  dry-brush  illustration  where  the  original 
has  been  made  in  water-color  black,  because  the  drawing  will 
smudge  under  these  conditions.  It  is  certainly  inadvisable  to 
cover  every  square  inch  of  paper  area  with  shading  and  tones, 
merely  because  the  half-tone  suggests  this.     Printability  suffers. 


Fig.  177. 

If  there  are  no  generous  areas  of  white  space,  then  the  artist  is 
expected  to  devise  them,  although  it  may  mean  departing,  to 
some  extent,  from  his  original. 

In  an  attempt  to  slavishly  follow  copy  many  artists  are  misled 
into  impractical  drawings  which,  while  presentable  enough  in 
the  original,  will  not  show  up  attractively  from  electrotypes  or 
even  from  original  zinc  engravings.  The  essence  of  a  complicated 
composition  in  wash  can  be  prepresented  for  newspaper  or  farm 
journal  use,  without  adhering  to  every  area  of  light  and  shade  in 
the  copy.  The  reduction  of  photographs  to  pen  and  ink  is  a 
more  complex  problem  and  requires  even  more  skill  on  the  part 
of  the  artist. 

It  is  dangerously  easy  to  imitate  the  formal  character  of  the 
camera's  study.  There  can  be  little  of  the  truly  artistic  in  a  pen 
drawing  which  bears  every  surface  indication  of  being  a  tracing 
of  a  photograph.     Such  drawings  are  familiar  to  every  newspaper 


270 


ILLUSTRATION  IN  ADVERTISING 


office,  and  while  thoir  tochniqiies  are  occasionally  unusual,  they 
deceive  only  the  misguided  artist  who  blinds  himself  to  the  fact 
that  there  is  no  opportunity  for  originahty. 

Silver  prints  are  rather  generally  used  because  they  represent 
an  economy.  They  can  be  produced  quickly  and  with  a  mini- 
mum amount  of  effort.  For  some  purposes,  their  use  is,  admit- 
tedly, an  excellent  idea.  Where  an  advertiser  has  a  number  of 
outline  illustrations  to  produce  in  pen  and  ink,  of  still-life  subjects, 
for  example,  this  method  is  advisable.  It  is  an  easy  route  to 
crisp,  clean,  detailed  illustrations,  where  artistic  effects  are  not 
necessery. 

This  entire  question  of  making  half-tone  subjects  over  for 
line  reproduction  has  become  an  important  one,  in  view  of  the 


lV\v^ 


P^IG.   178. 


modern  science  of  advertising.  It  is  acknowledged  that  a  cam- 
paign should  hold  together  and  that  its  various  units,  in  all 
mediums,  should  synchronize.  Thus,  the  backbone  of  a  series 
will  probably  be  the  magazine  copy.  These  layouts  set  the  pace 
for  the  entire  campaign.  The  illustrations,  very  probably,  will 
be  elaborate,  and  ambitious,  and  by  high-priced  talent.  They 
are  conceived  from  some  unifying  thought,  and  as  they  run 
their  course,  they  tell  a  story  which  is  serialized  at  any  rate  to 
some  extent. 

From  these  illustrations  come  the  themes  of  other  ramifi- 
cations of  the  campaign;  they  are  rendered  in  color  for  posters, 
for  street  car  cards,  and  for  booklet  and  catalog  covers.  Finally, 
they  are  made  into  dealer  electros  for  newspaper  use  or  arc  used 
in  farm  journal  advertising.     The  advertiser  may  produce  an 


HALF-TONE  SUBJECTS  INTERPRETED  IN  LINE         271 

elaborate  newspaper  campaign  which  he  alone  sponsors  and  in 
which  the  dealer  plays  no  financial  part. 

Repetition  of  the  pictorial  theme  is  not  looked  upon  as  a  deter- 
rent. On  the  contrary,  hammering  away  at  a  centraUzed  idea 
is  in  line  with  an  advertising  virtue,  now  acknowledged.  One 
campaign  assists  the  other,  and  one  series  of  advertisements 
works  in  harmony  with  another,  in  an  entirely  different  list  of 
publications.     The  family  resemblance  is  beneficial. 

It  therefore  transpires  that  all  of  the  designs  used  in  a  year,  in 
magazines,  are  duplicated  for  these  other  purposes,  and  are 
finally  reproduced  in  pen  and  ink  or  some  medium  which  allows 
for  line  plates. 

As  many  as  fifty  of  these  subjects  are  apt  to  come  through 
at  a  time.  Where  the  advertiser  is  exacting,  there  may  be 
several  different  sets  of  line  drawings  from  the  master  original, 
one  for  newspapers,  one  for  farm  journals,  with  just  a  little  more 
atmosphere  and  detail,  and  perhaps  one  for  quite  small  bulletins 
to  be  used  by  department  stores. 

It  must  be  admitted,  therefore,  that  the  work  is  significant 
and  deserving  of  the  most  careful  study  and  expert  considera- 
tion. The  numerous  examples  shown  on  these  pages  make 
apparent  to  what  an  extent  the  advertiser  has  progressed  in 
this  direction. 

When  placed  side  by  side,  the  original  in  wash  or  as  a  photo- 
graph and  the  line  duplicate,  make  possible  the  weighing  of  their 
merits. 


CHAPTER  XXXIII 
ILLUSTRATIONS  IN   PENCIL,   CRAYON   AND  DRYBRUSH 

A  demand  has  sprung  up  for  new  art  techniques  in  advertising, 
the  advertiser  himself  being  fully  alive  to  the  advantages  which 
come  with  a  distinctive  art  atmosphere,  more  or  less  exclusively 
his  own  and  not  to  be  confused  with  any  competitor's  display. 
If  an  advertiser  of  tires,  in  a  study  of  the  competitive  field  and  its 
illustrations,  finds  that  photographs,  wash-drawings,  and  color 
are  in  the  majority,  he  does  well  to  decide  upon  an  art  medium 
and  technique  which  is  in  every  way  a  departure  from  these 
campaigns. 

For  many  years,  the  limitations  of  engraving  prevented  the 
use  of  mediums  which  are  now  in  general  circulation,  both  on 
good  and  on  the  poorest  of  paper  stocks.  Pencil  and  crayon 
drawings  are  not  fundamentally  new,  but  their  application  to 
newspaper  advertising,  for  example  is  new,  for  until  a  few  years 
ago,  no  practical  method  of  reproducing  them  had  been  achieved. 
There  are  few  limitations  now.  What  the  artist  produces, 
the  engraver  can  reproduce,  and  with  marvelous  fidelity. 

One  classification  of  the  modern  school  is  the  ingenious  employ- 
ment of  a  particularly  sketchy  and  artistic  medium  which 
splits  itself  into  a  number  of  subdesignations.  It  is  a  technique 
which  makes  for  free,  illustrative,  and  altogether  delightful 
effects.  In  the  main,  this  method  permits  of  spontaneity. 
The  artist  works  with  more  freedom.  The  first  interest  in  a 
picture  is  sustained.  He  operates  much  as  when  making  a 
free-hand  sketch.  There  is  a  vitality,  an  alert  character  about 
the  technique  which  tends  to  depart  from  that  which,  in  adver- 
tising art,  is  looked  upon  as  conventional. 

Dry-brush. — A  rough-surfaced  paper  or  drawing  board  is 
used.  It  is  porous  and  rough,  and  when  the  brush  is  drawn 
across  its  surface,  there  are  intervening  spaces  of  white.  No 
line,  unless  definitely  made  so,  is  positive.  There  are  l>roken 
edges  and  an  artistic  uncertainty.  The  artist  uses  a  brush  and 
water-color  black.     He  may  regulate  his  effects  by  the  liquid 

272 


ILLUSTRATIONS  IN  PENCIL,  CRAYON  AND  DRY  BRUSH       273 

(juality  of  the  paint.  If  solids  arc  desired,  then  there  is  more 
moisture  to  the  pigment;  by  keeping  the  pigment  quite  dry,  the 
sketchy  effects  are  produced.  Although  used  much  in  news- 
papers and  for  other  publications  printed  on  a  cheap  grade  of 
stock,  some  beautiful  results  are  also  secured  for  standard  maga- 
zines. It  is  a  technique  which  has  successfully  bridged  the 
distance  between  the  half-tone  and  the  straight  line  illustration. 
Such  drawings  are  at  their  best  when  not  made  considerably 
larger  than  their  final  reproduction. 


Fig.  179. — A  particularly  successful  example  of  the  sketchy  dryhrush 
handling  (greatly  reduced).  Such  illustrations  are  made  with  a  brush,  in 
ink  or  lamp  black,  on  rough-surfaced  drawing  board. 

Pencil. — The  most  subtle  pencil  originals  are  now  successfully 
reproduced.  Faint,  delicate,  and  phantom-like  effects  are  known 
to  the  engraver  and  no  problem  appears  too  great  for  him  to 
solve,  it  being  understood,  all  the  while,  that  these  subtle  notes 
are  for  good  printing  and  good  paper. 

Any  and  all  drawing  boards  and  papers  can  be  used  although 
the  more  popular  course  is  to  employ  a  surface  which  has  grain. 
This  is  more  especially  true  of  designs  intended  for  reproduction 
on  porous  newspaper  and  farm  journal  stock. 

Because  so  many  illustrators  in  their  work  for  books  and  maga- 
zines use  pencil  techniques,  advertising  has  sought  it,  feeling  that  it 
brings  a  new  spirit  to  campaigns.  Pencil  drawings  need  never 
be  commercial  in  the  sense  that  they  are  palpably  for  advertising 
purposes.  Where  the  pencil  drawing  is  made  for  poor  paper,  it 
is  always  advisable  to  use  the  coarse-grained  board.  This  means 
that  line  plates  can  be  made,  the  tooth  on  the  paper  giving  every 


274 


ILLUSTRATION  IN  ADVERTISING 


To  the  men  who  build  the  Hupmobile, 
what  the  buyer  thinks  about  the  car  dur- 
ing the  sales  demonstration  is  o(  secondary 
importance. 

What  intensely  interests  these  Hupmobile 
manufacturers,  is  the  things  the  owner  will 
say  about  his  car  one  year,  or  three,  or 
five  ye^»^s,  after  he  buys  it. 


For  15  years,  the  best  interests  of  the 
owner  have  been  the  chief  concern  of  tbe- 
Hupmobile  builders. 

This  accounts — as  nothing  else  could  ac- 
count— for  the  literally  amazing  economy, 
the  remarkable  reliability,  and  the  long 
life  which  make  its  owners  so  enthusias- 
tic about,  and  so  loyal  to,  the  Hupmobile. 


Hupp  Motor  Car  Corporation,  Detroit,  Michigjui 

Hupmobile 

Fio.  180.- Dryhriish  lochiiicnio,  liaiKllcil  in  ;iii  f)i)(Mi  and  .irti.stic  manner, 
for  farm  journal,  and  thcrcfori'  poor-paper  u.so.  It  i.-<  a  i)ridKO  iK'twcen  rriido 
l)C'n  and  ink  and  lialftone.s,  wliidi  an;  not  so  apt  to  print  well. 


ILLUSTRATIONS  IN  PENCIL,  CRAYON  AND  DRYBRUSH       275 

line  a  porous  and  protected  surface.  The  illustration  for  coated 
stock  can  be  produced  with  fewer  exactions.  Delicate,  modu- 
lated tones  can  be  held  by  the  engraver.  And  the  highlighted 
plate,  which  means  a  dropping  of  all  whites  as  pure  white  in  the 
cut,  insures  a  perfect  reproduction  of  the  original. 

Sometimes  a  pencil  series  can  be  made  to  work  into  the  spirit 
of  a  campaign.     The  manufacturers  of  a  pencil,  used  largely  by 


Fig.  181. — Happy  application  of  the  pencil-original  sketch  for  a  product 
which  requires  this  technique  a.s  a  part  of  the  advertiser's  story.  A  high- 
light halftone  is  essential  to  bring  out  all  the  subtle  qualities  of  the  illustration. 

artists  and  architects,  sent  an  artist  abroad,  who  took  his  sketch- 
book along  with  him.  The  various  illustrations  were  used  in 
conjunction  with  copy  which  called  attention  to  the  utilitarian 
advantages  of  the  product  for  just  this  purpose. 

Crayon. — Crayons  of  all  kinds  are  now  used  by  artists  in  the 
production  of  advertising  illustrations.     Their  advantage  over 


276 


ILLUSTRATION  IN  ADVERTISING 


I'umnionpiiK'i.'.  wcli 
wiihiii  niiuk'i.iii'  cosi 


.  i^iiirv.    Miihin   a  KKidcu 
1  -   I.tf  tKe   fom\il  IS  wf  11 

vlncl.  will   imparl   to  ic. 

>.n,     luttllinj;     witlul     iKf 

.,ir.l.^flh.«lfilunlycUy. 
.ill  ihc  p*mtcr.  th«  Kulpcor 


riraii(IR.ipiJ-.hirniHirt(<iimidiiy 

417-421  HXDISON  AVLNUE 

1««  .  <<IT  ^lfr<■l.  -•  Ki.iiirrt.ViJ  *c>i.il  '*i 
NtW  YORK 


i-? 


Dctoi-ntiVf  iiMMftt-i 


Fio  182.— Pencil  throughout,  relieved  and  softened  by  a  most^  remarkable 
etching.  Effective  because  the  artist's  original  has  been  most  faithfuUy  repro- 
duced, even  to  delicate  vignettes. 


ILLUSTRATIONS  IN  PENCIL,  CRAYON  AND  DRYBRUSII       277 


the  pencil  is  in  a  certain  fluid  quality  and  an  intensity  of  blacks. 
Special  grease  crayons  are  also  manufactured  for  this  purpose. 
The  drawing  does  not  smear  as  easily  as  in  the  case  of  pencil 


FiQ.   183. — Crayon,  on  a  rough-surfaced  paper,  with  the  result  that  all  of  the 
charm  of  the  casual  sketch  is  preserved. 


Fig.  184. — The  freedom  and  unlabored  results  of  illustrations  such  as  this, 
handled  entirely  in  charcoal  or  pencil  or  grease  crayon,  are  welcome  in  an  age 
of  so  many  conventional  half-tones.  Although  made  for  magazine  reproduction, 
this  drawing  served  equally  well  in  newspaper  campaigns. 

originals.     In  both  classifications,  the  blowing  over,  with  a  special 
device  made  for  the  purpose,  of  "Fixitif  "  safeguards  the  original. 


278 


ILLUSTRATION  IN  ADVERTISING 


Charcoal. — Charcoal  drawings  successfully  produced  on  char- 
coal paper,  which  is  so  irregular  and  porous  as  to  surface  that 
something  which  approximates  a  pattern  is  obtained,  are  popular, 
and  rightfully  so,  because  they  represent  an  individualistic 
technique. 


Fio.  185. — A  most  effective  reproduction  from  a  page  illustration  employed 
by  General  Motors,  in  a  serialized  campaign.  It  is  a  combination  of  charcoal, 
crayon  and  wash,  highly  artistic  and  sparkling  with  animation. 

Combination  Dry-brush  and  Half-tone. — The  various  exam- 
ples given  permit,  in  every  instance,  of  line  reproduction. 
But  it  is  possible  to  combine  all  of  these  mediums  with  a  half- 
tone secondary  technique. 

The  dry-brush  illustration  can  be  reproduced  by  the  half- 
tone process,  with  all  over-over  screen  of  any  desired  texture, 


ILLUSTRATIONS  IN  PENCIL,  CRAYON  AND  DRYBRUSH       279 

and  highlights  cut  out  on  the  plate.  Or  a  tint  may  be  blown 
over  the  original  with  an  airbrush.  Some  artists  prefer  to  wash 
in  their  own  delicate  tones  with  a  brush  and  water-color  black. 
The  same  is  true  of  the  other  mediums  and  techniques.  This 
means  no  more  than  a  softening  influence  which  some  occasions 
demand. 


fclcJe*cJE»E 


*el«JrJcdi.JcJcJcJicW-Jc*cJr=JcJ€=«clcJcJ.=»EriJ^J^gc»clcJgJgJ«Jgf 


STROOCK 

-^"^'lOOfc  J^urc  line.  Jiroiii 

'j(£\MELS  Hair  Cloth 


Stroock  pure  Camels  Hair  Cloth  is  the  ideal  fabric  for  every 
type  of  outdoor  apparel. 

Many  sryles,  weaves,  desigris,  colors,  weights — 
all  I007o  pure,  fine  Camels  Hair 


Fig.  186. — Plate  made  from  an  artistic  pencil  sketch  and  reproduced  by  the 
high-light  process,  which  means  dropping  out  of  all  whites,  exactly  as  in  the 
original. 


The  result  and  technique,  in  any  of  the  schools,  is  dependent 
upon  the  handling  by  the  individual  artist.  And  this  means  an 
ever-increasing  variety  of  ideas,  of  effects,  of  techniques,  and  of 
artistic  atmospheres.  For  many  years,  advertisers,  in  poor 
paper  campaigns,  were  wholly  dependent  upon  pen  and  ink. 
The    above    mediums    bring    a  welcome  touch  of  originality. 


280 


ILLUSTRATION  IN  ADVERTISING 


It  is  told  that  one  advertiser  who  had  an  aversion  to  advertis- 
ing illustrations,  innnediately  identified  as  such,  studied  the 
reading  pages  of  magazines  and  reached  a  conclusion  which 
altered  the  entire  character  of  his  extensive  advertising  and 
which,  incidentally,  gave  it  the  success  and  the  volume  of  sales 


inthn  C^n^cli^n  Pacific  Rothies 

Why  not  YOU— astride  a  sure  footed  mountain  pony — with  all 
the  joy  of  life — looking  off  over  the  Lakes  in  the  Clouds  to 
Chateau  Lake  Louise,  a  mountain  height  belowl  Or,  with  zip 
and  zest  for  unusual  adventure,  climbing  a  dizzy  peak  with 
Swiss  guide,  or  playing  golf  on  a  mile-high  course.  Or,  swim* 
ming  in  the  warm  Sulphur  pool  at  Banff  Springs  Hotel. 


Canada  Welcome* 
the  United  Stairs 
Tourist.  No  Pats 
ports  Required. 


At  Wnpta.  Lake  O'Hora,  Yoho  Valley.  Emerald  Lake.  Mora 
Lake  Windermere— at  moderate  rate«.  New  camps  at  Vermilion  River  and 
irlair  Hot  Sprincs.  on  the  new  Banff -Windermere  Road -each  a  center 


for  hiking  or  riding  the 


a  Garden  of  the  Gu 


CANADIAN  PACIFIC  RAILWAY 

Fig.  187. — "Breezy"  is  the  word  which  host  fits  the  spirit  of  such  dry-brush 
illustrations  as  this.  The  harsh  technitiuc  of  tlie  pen  is  subdued  and  a  certain 
desirable  freedom  and  subtlety  of  effect  secured. 

heretofore  missing.  This  campaign  made  a  sensational  appeal 
because  it  did  not  resemble  advertising.  It  carried  all  the 
traditional  atmosphere  of  a  reading  scries,  and  it  was  the  illus- 
trative idea  which  did  much  to  accomplish  this. 

An  artist,  who  had  always  ])ecn  identified  with  pencil  illus- 
trations and  who  was  nationally  known  in  this  field  made  the 


ILLUSTRATIONS  IN  PENCIL,  CRAYON  AND  DRYBRUSH        281 

pictures.  They  were  entirely  free  from  the  customary  little 
tags  of  commercial  design.  In  another  instance  a  set  of  illustra- 
tion scenarios  was  given  to  an  artist  who  had  not  been  connected 
with  advertising  in  any  way.  He  was  not  told  that  he  was 
making  them  for  advertising  purposes  and  he  therefore  concluded 
that  the  drawings  were  for  a  series  of  stories. 


Fig.  188.— Showing  how  interesting  contrast  is  secured,  through  the  use  of 
two  contrasting  mediums,  the  main  illustration  in  free  and  sketchy  pencil, 
the  product  in  half-tone  from  a  retouched  original. 

It  may  be  said  of  all  originals  in  the  pencil,  dry-brush,  charcoal 
and  crayon  school  that  considerable  reduction  is  unsatisfactory. 
The  congestion  of  lines,  tones,  and  values  detracts  from  the 
sketchy  appearance  which  is  one  of  their  most  prized  attributes. 


CHAPTER  XXXIV 
MECHANICAL  SHADING  METHODS 

Ben  Day  was  the  inventor  of  a  process  for  introducing  mechani- 
cal textures  and  tints  into  any  type  of  illustration,  either  directly 
upon  the  metal,  or  on  the  original  drawing.  The  process  bridges 
over  the  gap  between  the  "straight"  line-drawing  for  poor- 
paper  reproduction,  and  the  half-tone,  which  might  not  repro- 
duce successfully  because  of  porous  stock  and  the  exigencies 
of  speedy,  sometimes  careless  printing. 

It  introduced  a  new  technique,  at  once  mystifying  and  intrigu- 
ing to  the  public  and  made  possible  mechanical  precision  where 
such  exactness  in  shaded  areas  was  necessary.  It  was,  in  fact, 
originally  intended  as  a  useful  and  attractive  substitute  for  the 
too-fine  shades  and  tones  of  the  half-tone  screen. 

Ben  Day's  idea  was  destined  to  last.  Today  it  is  employed 
for  innumerable  purposes.  It  is  as  adaptable  for  coated  paper 
illustrations  as  for  newspaper  stock,  and  is  invaluable  in  the 
making  of  color  plates  in  line.  It  is  an  idea  constantly  being 
applied  to  new  purposes.  As  with  every  other  new  idea,  there 
have  been  vogues  and  periodical  fads,  and  there  have  been  years 
when  so  much  Ben  Day  was  utilized  that  it  became  a  little 
tiresome.  It  is  safe  to  predict,  however,  that  this  process  is 
destined  to  have  many  years  of  additional  service,  since  its  prac- 
tical uses  are  so  many  and  the  substitutes  so  few. 

The  basic  idea  is  comparatively  simple.  Ben  Day  created  an 
interesting  variety  of  patterns  and  tints  and  textures,  all  of 
which  were  either  substitutes  for  the  half-tone  screen,  or  inge- 
nious fill-in  planes  of  color  which  it  would  require  far  too  much 
time  to  fashion  with  a  pen.  In  every  case,  they  are  patterns 
which  can  be  reproduced  by  lino  engraving. 

Some  of  these  patterns  resemble  cloth,  some  suggest  the  grain- 
ing of  wood;  some  are  adaptations  of  the  dots  of  a  half-tone  screen, 
some  are  intricately  prefect  tints  produced  by  linos  of  varj-ing 
thicknesses;  some  arc  grotesque  patterns  for  spectacular  effect; 

282 


MECHANICAL  SHADING  METHODS 


283 


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tfie  water  level  route 


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Fig.  189. — "Magazine  quality"  given  to  a  three-column  newspaper  display, 
mainly  through  the  ministrations  of  Ben  Day,  which  used  as  a  background  tint 
and  texture,  not  only  unified  the  display,  but  provided  character. 


284 


ILLUSTRATION  IN  ADVERTISING 


aiul  still  others  are  tones  which  merely  represent  a  diversity  of 
color  in  a  drawing. 

They  are  reproduced  on  a  gelatinous  sheet,  which  is  the  secret 
of  the  idea,  and  these  patterns  represent  raised  surfaces.  Ink 
is  applied  to  them,  by  means  of  a  roller,  and  the  patterns  are 
transferred  with  equal  success  to  an  original  drawing  or  to  a  plate. 

In  one  process,  there  is  no  reduction  to  the  pattern.  It  is  repro- 
duced exactly  as  it  appears  in  the  Ben  Day  book.  This  is  when 
the  pattern  is  applied  to  the  metal,  direct.  In  the  second  process, 
the  pattern  is  impressed  on  the  original  drawing  and  is  subject  to 


Fk;.  190. — A  pen  and  ink  outline  drawing,  ininR'a.sural  ly  assisted  by  flat  tones 
of  Ben  Day,  in  two  texture  values,  which  bring  out  the  white  product  and  supply 
"atmosphere"  to  the  entire  design. 

reduction  in  proportion  to  the  enlargement  of  the  design.  Ilarely 
is  it  safe  to  apply  Ben  Day  to  an  illustration  which  is  several 
times  larger  than  its  intended  use.  The  reasons  for  this  must 
be  at  once  apparent.  A  pattern  which  may  be  exactly  what  is 
desired,  when  seen  in  the  Ben  Day  book  of  designs,  is  not  suscep- 
tible to  any  considerable  reduction.  It  means  a  tightening  up  of 
the  texture  and  proportionately  decreased  assurance  of  clear 
printing,  particularly  on  poor  paper. 

Ben  Day  tints  are  at  their  best  when  they  are  printed  exactly 
as  they  are  shown  in  the  book.  It  is  also  obvious  that  a  second 
reproduction  process  is  certain  to  rob  them  of  much  of  their  origi- 


MECHANICAL  SHADING  METHODS 


285 


nal  clarity.  When  the  tint  is  printed  on  the  plate,  it  is  apt  to 
reproduce  crisply  and  to  be  unaffected  by  any  of  the  exigencies 
of  engraving,  reduction,  printing,  or  make-ready. 

The  complete  outfit  for  producing  Ben  Day  is  supplied  to  any- 
one who  wishes  to  fulfil  the  terms  of  a  special  contract.  For 
example,  an  individual  or  a  department  may  secure  the  tools  of 
its  art  with  equal  ease  and  its  use  is  exceedingly  simple,  once  the 
rudiments  are  understood. 


Fig.  191. — A  sketchy  pen  and  ink  original,  combined  with  one  interesting 
Ben  Day  tint,  to  bring  out  the  light  effect.  The  entire  area  of  the  illustrarion  is 
covered  with  this  texture,  with  the  single  exception  of  the  beam  of  light. 

There  are  separate  pattern  gelatine  films,  enclosed  in  frames 
which  keep  them  taut  and  prevent  them  from  shrinking  warping, 
etc.  there  are  ink  pads  and  roller,  a  mechanical  devise  for  holding 
the  frames  and  the  drawings  or  plate,  and  a  variety  of  stilus 
instruments.  The  latter  are  employed  by  the  artist  who  lays  the 
tint.  He  presses  them  on  the  reverse  side  of  the  gelatine  after 
it  has  been  inked,  and  the  raised  surface  makes  the  pattern. 

These  impressions  are  made  by  instruments  adapted  to  the 
needs  of  the  drawing,  from  very  open  areas  to  the  smallest  spaces. 

Although  the  active  principles  of  the  Ben  Day  process  are 
comparatively  simple  and  practical,  it  is  nevertheless  necessary 
to  observe  certain  well-defined  cautions  as  follows : 

For  poor  paper  reproduction,  avoid  the  very  fine    textures. 


286  ILLUSTRATION  IN  ADVERTISING 

Where  the  actual  area  is  limited,  a  coarse  pattern  is  inadvisable. 

Do  not  select  a  pattern  without  scientifically  analyzing  the 
reproductive  qualities,  as  applied  to  paper,  printing,  size  of  plate, 
etc. 

Do  not  be  misled  by  the  beauty  and  the  technical  interest 
of  many  of  the  complex  patterns,  when  the  newspaper  or  farm 
paper  illustration  is  being  planned.  There  are  sharp  limitations 
in  this  regard. 

Do  not  use  too  many  different  patterns  in  a  single  illustration. 
One  nullifies  the  effectiveness  of  the  other  and  confusion  of 
techniques  results. 


Fig.  192. — So  successful  were  the  illustrations  in  this  treatment,  in  news- 
papers, that  the  plan  has  teen  carried  out  for  the  glazed  paper  of  nKigazines. 
Absolute  originality  of  technique  was  secured,  as  a  contrast  with  the  innumerable 
wash  and  photographic  designs.  The  campaign  has  been  of  the  highest  order 
and  represents  the  most  skilful  use  of  Ben  Day  tints  used  in  conjunction  with 
very  artistic  pen  and  ink  originals. 

Select  the  pattern  with  an  ej^e  to  the  result  which  it  is  desired 
to  attain.  If,  for  example,  cloth  is  to  be  simulated,  there  are 
special  textures  for  this  very  purpose. 

Keep  in  mind  that  there  are  limitations  in  the  matter  of  size 
of  areas  which  can  be  successfully  covered  by  some  patterns. 
The  frames  are  not  of  uniform  porportion — some  are  smaller  than 
others  and  to  match  Ben  Day  is  an  intricate  and  at  times  an 
almost  mechanically  impossible  job. 

Ben  Day  tints  are  often  dependent  upon  accompanying  con- 
trasts which  must  appear  in  the  original  pen  and  ink  illustration. 
It  is  possible  to  make  of  an  outline,  line  shade  drawing,  a  hopeless 
maze  of  massed  color,  if  there  are  no  contrasts. 


MECHANICAL  SHADING  METHODS 


287 


It  is  far  too  easy  to  be  prodigal  with  Ben  Day.  A  little  goes  a 
long  ways. 

When  Ben  Day  is  used  in  connection  with  a  wash  drawing, 
more  than  ordinary  care  is  essential,  because  of  this  urgent  need 
of  proper  contrast.  There  can  be  confusion  between  the  half- 
tone screen  in  the  lighter  tones  and  the  stippled  or  dotted  Ben 
Day  patterns. 

Ben  Day  is  at  its  best,  when  it  is  laid  on  an  open,  unob- 
structed area.     It  is  better  merely  to  indicate  an  outline  and  to 


Fig.  193. — A  dry-brush  and  pen  illustration  at  the  base,  filled  in  judiciously 
with  several  different  patterns  of  Ben  Day.  They  provide  atmosphere,  orig- 
inality of  technique  and  artistic  merit  throughout. 


allow  the  texture  a  flat  surface  than  to  attempt  to  run  a  pattern 
over  shading. 

If  two  Ben  Day  textures  appear  side  by  side,  one  should  be 
darker  than  the  other,  or  of  a  radically  different  pattern,  although 
this  is  by  no  means  a  fixed  rule. 

A  novice  need  not  be  conversant  with  its  practical  use  or  appli- 
cation. If  one  texture  alone  is  wanted,  the  expedient  method  is 
to  paint  that  area  in,  in  a  delicate  shade  of  transparent  blue. 
(Blue  does  not  photograph  in  line  plate  making.)     Simply  des- 


288 


ILLUSTRATION  IN  ADVERTISING 


ignate  the  number  of  Ben  Day  pattern  at  the  bottom  of  the 
drawing,  with  a  swatch  of  the  same  blue.  Or  the  blue  may  be 
placed  on  a  tissue  overlay.  If  several  different  textures  are  to 
be  used,  then  various  strengths  of  the  blue  are  used,  each  one 
numbered  to  correspond  with  the  desired  pattern. 

It  is  seldom  desirable — or  safe — to  attempt  trick  combinations 
by  laying  one  pattern  over  another. 

Remember,  always,  that  the  Ben  Day  tint  is  used  to  achieve 
a  certain,  definite  object,  a  certain  effect.  Select  the  patterns 
accordingly 


Fig.  194. — An  interesting  result  secured  t)y  using  two  different  patterns  of  two 
varying  tones.  An  outline  pen  illustration  immediately  takes  on  new  artistic 
merit — and  ej'c-interest. 


Ben  Day  is  almost  always  more  useful  and  satisfactory  in 
illustrations  larger  than  one  column  in  width. 

The  artist  who  originates  the  illustration  should  designate 
the  placing  on  the  Ben  Day  tints.  It  is  no  assignment  for  the 
amateur  nor  should  it  be  left  to  the  engraver. 

The  reasons  for  using  Ben  Day  are  varied.  For  the  present,  at 
least,  its  application  is  nearly  always  associated  with  the  desire 
to  produce  a  more  interesting  illustration,  or  one  which,  for  poor 
paper  reproduction,  is  made  to  take  on  a  higher  degree  of  atmos- 
pheric (juality  than  would  be  possible  through  the  employment  of 
the  ordinary  methods. 


MECHANICAL  SHADING  METHODS  289 

There  are  sharp  Hmitations  when  it  comes  to  what  will  success- 
fully print  on  porous  stock,  whether  in  newspaper  or  in  farm 
journals.  The  full-shade  and  intricately  designed  picture  is 
never  sure  of  an  adequate  result.  But  certain  refinements  are 
attained  through  the  use  of  Ben  Days  which  are  sure  and  artistic. 

An  ordinary  drawing,  in  pen  and  ink,  for  example,  might  make 
a  medicore  showing  and  be  considered  commonplace,  whereas 
the  same  drawings,  treated  with  tints  and  textures  of  Ben  Day 
would  immediately  take  on  fresh  interest  and  individuality  of 
technique. 

The  Ben  Day  tint  supplies  contrasts  which  are  practical  and 
which  are  different.  The  Ben  Day  tint  creates  zones  of  desirable 
texture  which  would  otherwise  require  a  too  exacting  work  on  the 
part  of  the  artist,  in  cases  demanding  economy. 

Ben  Day  supplies  a  safe  and  a  practical  shading  medium  which 
will  print  and  which  is  easily  applied.  An  uninteresting  original 
drawing  is  often  made  attractive,  artistic,  compelhng,  because  of 
the  shrewd  admixture  of  patterns,  discreetly  distributed. 

Nor  is  all  this  confined  to  illustrations  which  are  used  on  poor 
paper.  Magazine,  book,  brochure,  and  leaflet  pictures  gain  by 
Ben  Day's  creative  art.  There  are  Ben  Day  tints  which  simulate 
cloth,  the  tone  of  a  flat  mass  of  sky,  earth,  the  shadows  of  a 
brilliantly  lighted  composition,  wood,  metals,  or  any  flat  surface. 

An  advertiser  of  a  slate  and  a  rough-surfaced  roofing  tried  for 
many  years  to  secure  illustrations  of  his  product  for  use  in  both 
newspapers  and  magazines  and  did  not  satisfactorily  achieve  it 
until  the  possibilities  of  Ben  Day  were  pointed  out  to  him. 
Formerly,  it  had  been  the  artist's  custom  painfully  to  stipple  in, 
with  a  pen,  a  semblence  of  the  roofing  texture.  By  the  new 
process,  the  outline  was  drawn  and  the  peculiar  texture  quickly 
and  economically  put  in  by  the  plate  maker,  with  a  Ben  Day 
pattern.  An  advertiser  of  clothing  for  men  and  women  has 
found  that  there  are  Ben  Day  textures  which  quite  faithfully 
suggest  the  more  prevalent  patterns  of  popular  fabrics. 

The  use  of  Ben  Day  in  the  making  of  color  plates  is  a  subject 
in  itself.  Suffice  it  to  say  that  tints  of  the  full  strength  color  are 
thus  obtainable,  and  by  overlapping  of  patterns,  many  blendings 
are  possible,  all  from  line  engravings. 

The  Ben  Day  book  is  a  sort  of  Fairy  Book,  from  which  are 
drawn  innumerable  surprises.  The  use  of  Ben  Day  need  never 
become  trite.     Its  range  is  regulated  only  by  the  resourcefulness 


290  ILLUSTRATION  IN  ADVERTISING 

of  the  artist  himself,  who  is  the  only  one  who  should  be  permitted 
to  designate  its  use. 

In  every  case  where  half-tone  plates  on  poor  paper  are  not 
considered  safe,  Ben  Day  comes  to  the  rescue,  a  pleasing  sub- 
stitute. It  supplies  individuality  of  technique,  plus  modifying 
and  refining  influences. 

Occasionally  a  protest  is  raised  against  Ben  Day  on  the  grounds 
that  it  is  not  practical  for  poor  paper  reproduction  and  that  it 
will  not  print  clearly,  musses,  fills  in,  and  otherwise  proves 
impractical.  In  every  case,  these  faults  are  attributable  to  lack 
of  judgment  in  applying  the  principles  of  the  invention — for 
invention  it  most  assuredly  is,  regulated  by  well-defined  mechani- 
cal laws.  If  a  Ben  Day  does  not  print  clearly  on  poor  paper  stock, 
the  chances  are  that  a  too  fine  pattern  has  been  selected. 

Unquestionably,  just  as  in  the  case  of  a  half-tone,  any  consider- 
able congestion  of  dots  or  straight  lines  or  any  other  close  pattern 
will  collect  ink,  and  offer  reproductive  difficulties.  Within  its 
limitations,  Ben  Day  is  one  of  the  most  useful  methods  of  com- 
mercial art  and  engraving. 


CHAPTER  XXXV 
THE  HUMOROUS  MOTIF 

Humor  may  be  the  illustrative  theme  in  advertising  if  it  is 
humorous  because  of  some  idea  or  situation  born  of  the  subject 
which,  in  its  rendering,  is  sound  as  to  draftsmanship;  or  on  the 
other  hand,  if  the  out-and-out  burlesque  serve,  highlighted  with 
the  characteristic  technique  of  the  cartoonist.  It  is  peculiarly- 
true  of  the  "funny"  advertisement,  however,  that  it  must  not  be 
permitted  to  fall  into  the  amateur  class.  Humor  which  is  forced 
and  which  leaves  a  sense  of  disappointment  is  the  poorest  of  all 
advertising  material.  Such  campaigns  must  be  really  funny  and 
the  drawings  must  spring  from  a  thorough  knowledge  and  an 
appreciation  of  the  very  spirit  of  subtle  burlesque.  The  cartoonist 
is  certainly  born,  not  made.  It  is  one  of  the  highest  forms  of 
specialization.  That  the  public  is  receptive  to  illustrations  of 
this  character  is,  of  course,  obvious.  The  comic  strip  has  become 
a  sort  of  national  institution.  To  assume  that  such  forms  of 
advertising  art  are  crude,  primitive,  undignified  and  having  a 
tendency  to  cheapen  the  product  is  to  deny  a  public  whim  which 
is  universally  distributed.  The  smile  in  advertising  is  an  asset. 
The  public  laughs  with  the  advertiser  and  his  product,  not  at 
them. 

It  is  sometimes  assumed  that  a  product  with  a  serious  trend 
has  no  place  in  its  advertising  schedule  for  the  fun  appeal. 
There  are  on  record  the  most  convincing  evidences  of  the  opposite 
of  such  opinions.  Advertisers,  whose  goods  would  appear  to 
carry  slight  encouragement  to  the  cartoonist,  have  suddenly 
swung  wide  of  their  existent  dignity,  and  launched  humorous 
campaigns  which  have  been  universally  acclaimed.  It  is  a 
natural  reaction  from  long  unbending. 

A  product  which  is  related  to  the  construction  of  houses 
had  been  for  thirty  years  advertised  along  certain  set  and  serious 
lines.  It  had  never  occurred  to  the  committee  in  charge  of  these 
programs  to  deviate  in  the  slightest  degree. 

291 


292 


ILLUSTRATION  IN  ADVERTISING 


But  a  small  trade  magazine  series  was  started,  as  a  mere  inci- 
dental, and  the  manager  in  charge  of  a  certain  department  was 
determined  to  "have  a  little  fun,"  as  he  put  it.  The  basic 
advertising  ideas  as  well  as  the  illustrations  were  of  the  comic 
variety.  Nobody  in  the  organization  paid  much  attention  to 
the  small  series,  although  there  were  intermittent  mumblings 
of    "undignified"    and    "calculated   to    cheapen  the  product." 

The  results  were  surprising;  more  was  heard  from  this  trade 
paper  campaign  than  from  the  combined  campaigns  for  much 
more  important  space.  Timidly  now,  the  humor  was  put  into 
an  occasional  standard  magazine  or  newspaper  advertisement, 


jjTfAj  spr>t  a-,  ctnj  siiiipiy  of 


*Bu/iete5V 


lived  Ki  Mu«i>chii>ctt<  and  difiJ 
wnulU  Iroely  imt  Ar»e 

Iht/CeteSf 


Fig.  195. — The  advertiser  had  a  Rreat  many  drug  articles  to  advertise,  one  at 
a  time  being  featured.  Belie\'ing  that  the  average  person  might  not  take  much 
interest  in  these  products,  he  hit  upon  the  happy  idea  of  asking  familiar  questions, 
which  could  be  applied  to  the  goods,  and  then  answering  them,  with  cartoons 
and  copy. 

and  now  the  advertiser  is  using  the  humor  theme  almost 
exclusively. 

The  applying  of  grotesque  and  rollicking  art  to  the  problem  is 
the  point  where  discrimination  is  required.  It  must  be  pat.  The 
advertising  of  Planter's  salted  peanuts  (a  national  campaign) 
had,  for  many  years,  confined  its  attention  to  quite  serious  argu- 
ments and  to  illustrations  which  were  either  of  the  still-life  school 
or  with  human  interest  themes. 

With  the  starting  of  a  new  year,  however,  someone  suggested 
that  salted  peanuts  were  a  popular  product  and  that  the  mood 
of  the  prospect  was  receptive  to  a  lighter  touch  in  the  advertising. 
"Why  be  so  confounded  serious  about  it?"  expresses  the  line 
of  reasoning. 


THE  HUMOROUS  MOTIF 


293 


The  most  startling  and  unconventional  basic  ideas  were  evolved 
when  a  nationally  known  cartoonist  was  called  into  the  con- 
ference. A  business  office  was  pictured,  with  the  chief  executive 
munching  peanuts,  one  of  which  had  rolled  off  into  a  corner. 


The     TsJi<cl<e'l     l-.vi*-»ol-i'    THe     ISJioRc^i     Li^jncK 


Fig.  196. — Some  products  lend  themselves  quite  naturally  to  the  humorous 
handling.  Thus,  a  popular-priced  article,  like  salted  peanuts,  can  afford  not 
to  take  itself  too  seriously.  Even  the  trade  mark  is  a  cartoon.  One  of  a  long- 
continued  series  and  a  very  successful  campaign. 

Clerks,  office  boys,  stenographers,  gravely  posed  bookkeepers 
and  up-stage  supernumeraries  were  all  doing  their  best  to  stalk 
that  lone  ''goober."  Or  a  picnic,  and  again  a  missing  peanut, 
while  father,  mother,  the  guests,  and  the  children  turned  things 


294 


ILLUSTRATION  IN  ADVERTISING 


upside  clown  in  frantic  quest  of  the  precious  morsel.  Thus, 
through  an  entire  year  of  accumulative  advertising,  the  cartoon 
took  the  place  of  conventional  illustrations,  and  with  every  appar- 
ent success.  If  a  basic  idea  for  a  series  does  not  soon  assert  its 
power,  the  advertiser  can  change  to  something  else. 

It  is  characteristic  of  the  above  campaign  and  similar  accounts 
that  while  the  illustration  may  be  100  per  cent  comedy,  the  read- 
ing soon  swings  into  selling  sense  and  merchandising  logic.  In 
other  words,  humor  is  not  permitted  to  upset  the  apple  cart  and 


^r  Vresidenf 

TstTlpC  T«T^Tl^^Crk1     ^°"  P^y  ^^  bottom  price 

tr**^**^^^  V     JU*H  ILrd9wJL  ihtH  you  buy  oU  mined  from  purr  ftnnsyham 


^ 


ftniuyhania  Cradt 
iht  higkett  gnuU  OH  in  At  woiU 


W-^ZltZ.'.  ii^H^^'     ""  ™' ' "  ^  J 


R"i,""^'.,t'.. 


Fig.  197. — Two  advertisers,  with  a  special  story  to  tell,  which  admits  of  a 
touch  of  humor,  not  only  in  the  illustration  but  in  the  copy,  turn  to  a  distinctive 
style  of  caricature  which  has  shown  itself  to  be  popular.  These  advertisements 
orisinally  appeared  in  magazine-page  size. 


run  roughshod  down  the  advertising  road.  It  is  always  tempered 
by  "reason  why." 

Where  a  product  and  the  things  which  must  be  said  of  it  are 
inherently  serious  and  not  calculated  to  make  very  alluring  sub- 
stance for  the  average  reader,  the  cartoon  injects  a  sort  of  appe- 
tizing zest.     It  coaxes  the  indifferent  pu])lic. 

It  will  be  well  to  give  a  number  of  direct  applications  of  various 
kinds  to  demonstrate  just  how  specific  advertisers  have  success- 
fully applied  the  tonic,  and  how  apparently  irrelevant  fun  has 
been  brought  in  where  there  might  appear  no  possible  place  for  it. 


THE  HUMOROUS  MOTIF  295 

In  each  of  these  examples,  some  one  form  of  applying  humor 
is  briefly  described  and  the  subtle  reasons  which  have  both 
inspired  and  legitimatized  it. 

A  special  surfacing  paper  for  buildings,  the  basic  function  of  which  is 
to  keep  out  the  cold  of  severe  winters.  The  product  is  unsensational, 
commonplace  in  appearance,  and  any  description  of  its  advantages  and 
composition  are  prosaic  from  the  viewpoint  of  the  casual  reader  of 
advertising. 

"For  shivery  houses"  was  made  a  typical  headline.  And  the  car- 
toonist draws  a  very  funny  little  frame  house,  animated,  with  legs  and 
arms  and  a  face  in  the  throes  of  a  severe  chill.  Waved  lines  suggest  that 
this  forlorn  habitation  is  shivering. 

Thus,  as  no  more  than  one  unit  in  the  illustrating  of  the  campaign, 
for  there  are  more  serious  pictures  in  each  advertising  display,  an  invi- 
tation is  held  out  and  the  eye  attracted.  By  sundry  adaptations  of 
this  central  thought,  a  campaign  which  would  otherwise  be  heavy  is 
lightened,  without  offence  and  with  a  direct  application  to  the  subject  in 
hand. 

A  refiner  of  automobile  oil  is  desirous,  for  a  connected  campaign  over 
a  given  period,  to  concentrate  on  the  price  question,  it  being  obvious 
that  if  an  article  is  of  the  highest  possible  quality,  a  higher  than  ordi- 
nary price  for  it,  is,  in  truth  an  economy.  But  dollars-and-cents  talk 
fails  to  provide  anything  striking  in  the  pictorial  line,  and,  in  any  event, 
the  message  is  of  such  a  character  that  it  must  strike  out  from  the 
shoulder.  A  cartoon  style,  very  much  the  vogue,  is  chosen,  and  head- 
lines devised  which  automatically  provide  the  artist  with  his  themes, 
such  as:  "Oil,  $5  a  quart."  It  is  suspended  from  a  country  garage  and 
a  mob  of  motorists  is  storming  the  place.  But  they  are  funny  little, 
grotesque  little  people,  whole-heartedly  in  the  spirit  of  fun.  "Of 
course,"  relates  the  text,  "it  never  happened."  Nobody  ever  charged 
$5  a  quart  for  oil.  But  many  motorists  who  think  they  are  paying  only  25 
or  30  cents  a  quart  are  actually  spending  $5  a  quart — when  they  count  in 
the  added  repairs  and  depreciation  resulting  from  the  failure  of  their  oil 
to  protect  their  motors  as  it  should."  The  body  of  the  text,  it  should 
be  explained  is  thoroughly  dignified  and  serious.  Only  the  cartoon  is 
employed  to  stimulate  interest  at  the  start. 

A  manufacturer  of  golfing  equipment  uses  single  columns  in  maga- 
zines to  describe  the  various  numbers  of  his  line.  There  must  be  many 
small  paragraphs.  The  same  field  is  taking  itself,  at  the  time,  very 
seriously.  But  golfers  have  a  sense  of  humor.  The  opportunity  is 
apparent.  Down  the  long  column,  in  the  margin,  there  are  sprinkled 
very  funny  httle  golfers  in  a  vein  which  must  at  once  appeal  to  the  lover 
of  his  course.  And  as  the  campaign  progresses,  it  is  at  once  seen  that 
the  series  can  be  advantageously  extended. 


296  ILLUSTRATION  IN  ADVERTISING 

A  manufacturing  druggist  plans  a  campaign  which  will  run  in  weekly 
magazines  throughout  the  j^ear  perhaps  longer.  Drugs,  toilet  articles, 
and  sundries  of  an  allied  character  must  be  featured,  one  at  a  time. 
But  will  the  public  take  any  great  amount  of  interest  in  stories  about 
iodine  and  disinfectants,  and  things  which  are  housed  in  the  medicine 
chest.  Moreover,  the  series  must  have  continuity.  Each  advertise- 
ment must  come  to  be  recognized  by  the  public  as  one  of  a  certain  family. 
And  as  a  "lead"  the  idea  is  evolved  of  asking  questions  which  every- 
one has  asked  himself  but  which  have  not  been  generally  answered. 
The  physical  unit  of  the  heavy  black  question  mark  goes  far  in  the 
direction  of  establishing  a  rememberable  mark  of  identification.  And 
each  question  is  illustrated  humorously  with  comedy  pictures.  People 
learn  to  look  for  them.     The  series  is  a  fixture. 

A  new  insecticide  realizes  that  the  market  is  one  stifled  with  keen 
competition.  How,  then,  shall  advertising,  however,  worthy  the 
product,  be  made  individual  and  given  a  distinctive  character.  Compet- 
itors have  gone  at  their  task  seriously.  There  is  just  one  untrammeled 
theme — humor  and  attendant  cartoons  as  illustrations.  Bugs  are  not 
very  pleasant  to  look  upon.  Many  of  them  are  as  repellent  to  picture  as 
to  read  about.  And  so  a  cartoonist  animates  them,  gives  them  personal- 
ities, and  draws  them  in  the  most  whimsical  of  situations.  "Why,"  is  a 
tj'-pical  headline,  "ask  a  bug  to  find  and  eat  poison?"  And  this:  "Even 
the  little  bug  with  the  high  forehead  might  be  a  grandfather  before  he 
found  your  morsel  of  poisonous  powders  or  liquids."  It  is  a  plea,  of 
course,  for  a  spray,  of  a  penetrating  kind.  The  quaint  little  bugs  wear 
gas  masks,  as  they  scent  the  product;  they  tumble  and  scamper  out  of 
its  path.     A  spry  leader  seeks  safe  port  with  his  field  glasses. 

The  ideal  cartoon  illustration,  naturally  enough,  is  the  one 
drawn  by  a  nationally  known  artist,  whose  style  and  method  is 
distinctive  and  whose  work  will  be  at  once  recognized  by  the 
greatest  number  of  people.  The  syndicate  cartoonist,  whose 
drawings  appear  in  many  newspapers,  from  coast  to  coast,  is  in 
demand,  and  properly  so. 

Such  cartoonists  as  Briggs,  Goldberg,  Ding,  and  Cooper,  not 
to  mention  a  vast  number  of  others  of  equal  note,  were  won  over 
to  advertising's  need,  by  advertisers  who  saw  the  asset  of  a 
familiar  name  and  a  nationally  accepted  court  jester. 

But  the  days  of  these  cartoonists,  save  in  a  few  exceptional 
instances,  are  numbered.  They  are  popular  during  their  brief 
regime  and  are,  in  turn,  replaced  by  others  for  the  public  is  fickle 
and  each  span  of  years  has  its  cartoon  vogue. 

A  certain  young  artist  created  a  distinctive  school  of  humorous 
illustrations.     These  character  studies  were  so  absolutely  unlike 


THE  HUMOROUS  MOTIF 


297 


anything  which  had  gone  before,  that  they  swept  the  country. 
The  cartoonist's  work  could  be  found  in  practically  all  of  the 
magazines.  He  was  the  rage.  Perhaps  one  contributory  cause  to 
this  popularity  was  the  uncanny  accuracy  with  which  he  caught 
the  mannerisms  and  dress  of  the  flapper  and  the  young  collegiate. 
Advertising  was  not  slow  to  applj^  the  cartoonists  art  to  cam- 
paigns. The  danger  of  such  popularity,  however,  is  obvious. 
A  style  is  overdone.  The  same  cartoonist  yields  to  the  blandish- 
ments of  too  many  campaigns. 


ii 


♦  ♦ 


tSEE 

1  WISH  SOMEBOOy'D 
■    -   INVlTe    ME    TO  THE 
COUNTRY  iVilM  mw  Yt«t 


I  'WEEW    OR  TWta 


WWr  AREWEGaNG 

TO  DO  ABOUT  IT  ? 


Fig.  198. — Example  of  how  the  popularity  of  a  nationally-known  cartoonist 
is  turned  to  good  account  by  the  advertiser.  It  just  so  happens  that  the  familiar 
Briggs  headline  fits  in  with  the  mood  of  the  advertiser's  copy. 

Cartoonist  Briggs  created  "When  a  feller  needs  a  friend" 
and  other  serial  slogans  for  humorous  illustrations.  And  at  once 
advertisers  read  parallels.  The  full  force  of  the  Briggs  fame  was 
set  to  work  in  behalf  of  a  nationally  exploited  product. 

In  a  somewhat  similar  way,  the  exceptionally  unique  and 
characterful  comics  of  F.  G.  Cooper,  first  appearing  in  magazines, 
were  drafted  to  the  ranks  of  advertising.  Their  imaginative 
quality  was  such  that  they  have  managed  to  survive  for  many 
years  and  house  organ  editors  revel  in  them. 

One  advertiser  with  a  flare  of  individuality  had  a  school  child 
make  crude  straight-line  drawings  with  which  youth,  in  amateur 
mood,  expresses  the  pictorial.  They  were  intended  to  be  serious 
and  were  proportionately  droll. 


298 


ILLUSTRATION  IN  ADVERTISING 


At  the  inception  of  a  year's  campaign,  an  advertiser  of  under- 
wear found  that  the  most  valuable  peg  upon  which  to  hang 
his  series  was  a  "two  buttons  on  the  shoulder"  slogan.  In  this 
regard,  the  garment  was  different  from  others.  But  would  any- 
one pay  nuich  attention  to  a  talk  about  buttons?  But  people 
did,  when  a  cartoonist  animated  those  two  buttons  and  started 
them  off  on  a  jolly  frolic. 

But  humor  in  advertising,  as  has  been  said,  divides  itself  into 
two  very  sharply  defined   classifications.     The   cartoonist  has 


Fig.  199. — Radio  taken  not  too  seriously  by  an  advertiser  of  equipment,  who 
employs  a  nationally  known  cartoonist  to  interpret  the  joy  of  the  wireless 
entertainment. 


nothing  in  common  with  the  artist  whose  comedy  in  an  illustra- 
tion arises  rather  from  the  situation,  the  story,  the  circumstance, 
than  from  the  manner  of  the  technique,  the  draftsmanship.  It 
is  generally  conceded  that  roughshod  fun  is  nowhere  near  as 
serviceable  for  advertising  purposes,  as  mellow  humor,  skilfully 
drawn  and  entirely  dependent  upon  an  intensely  human  story. 
There  will  always  be  room  for  both,  and  both  serve  two  totally 
different  masters  and  markets.  The  audience  which  guffaws  at 
burlesque  will  not  be  attracted  to  a  Shaw  comedy.  The  man  who 
smiles  with  Mark  Twain  will  not  care  for  Ilapiiy  Hooligan. 


CHAPTER  XXXVI 
HISTORY  AS  THE  SUBJECT  MATERIAL 

A  superintendent  of  schools  has  made  the  interesting  assertion 
that  modern  advertising  has  accomphshed  as  much,  in  giving 
the  younger  generation  a  well-grounded  knowledge  of  history, 
as  the  classroom. 

To  quote  him: 

Advertising  today  has  touched  upon  almost  every  phase  and  feature 
of  history.  And  it  has  accomplished  it  with  such  tact,  such  a  wonderful 
illustrative  background,  that,  perhaps  unconsciously,  the  reading  public 
has  been  coaxed  into  wanting  to  learn  everything  there  is  to  know  on 
the  subject. 

Many  of  our  pupils  go  through  newspapers  and  magazines  and  clip 
all  advertisements  which  have  historical  themes,  and  these  are  made  into 
voluminous  scrapbooks.  The  most  casual  study  of  these  books  is  proof 
sufficient  that  the  advertiser  is  performing  a  dual  service.  History  has 
been  made  more  palatable,  I  imagine,  than  the  history  of  the  schoolroom. 
There  is  no  apparent  attempt  to  moralize  or  to  "teach."  These  his- 
torical themes  are  colorfully  introduced.  From  the  earliest  dawn  of 
civilization,  down  to  our  present  time,  no  period  seems  to  be  neglected. 
It  is  a  vigorously  helpful  influence.  Moreover,  others  than  chi'dren 
have  "brushed  up"  on  their  histor3^ 

Entire  campaigns  have  been  based  wholly  upon  the  historical 
idea,  and  the  illustrations  accompanying  them  are,  of  necessity, 
unconventional  and,   in  a  number  of   cases,   highly  dramatic. 

The  subject  is  of  importance  here  because  of  its  innumerable 
ramifications  and  the  as  yet  untouched  treasures  of  adventure, 
sentiment,  and  romance.  But  any  advertising  artist  who  delves 
into  history  must  be  cautious  and  truthful.  The  slightest 
departure  from  fact  will  call  down  the  wrath  of  students  of  history, 
who  know  the  right  from  the  wrong  and  who  look  upon  any  devia- 
tion, however,  slight,  as  something  close  to  sacrilege. 

It  should  be  set  forth  immediately,  therefore,  that  historical 
illustrations  must  be  based  on  a  sound  knowledge  of  costumes, 
incidents,  places,  and  races.     Nothing  may  be  taken  for  granted 

299 


300  ILLUSTRATION  IN  ADVERTISING 

and  no  detail  "faked  up."  Any  advertising  illustration  which  is 
subject  to  criticism  for  historical  inaccuracy  is  not  a  good 
advertising  illustration. 

But  there  need  be  no  doubt  in  such  matters.  Every  museum 
and  library  is  a  storehouse  of  authent  ic  material.  There  are  books 
which  visualize  all  that  is  and  can  be  known  of  the  dim  and  shadowy 
long  ago.  The  artist  is  merely  called  upon  to  investigate  and  to 
supply  himself  with  working  data  before  he  attempts  any  illus- 
tration, which,  by  its  very  character,  will  be  critically  scrutinized 
by  thousands  of  persons  conversant  with  any  subject  handled. 

Twelve  representative  campaigns  are  described  herewith,  as 
showing  how  the  historical  motif  can  be  put  to  accumulative 
serial  use.  The  most  popular  excuse,  by  far,  has  been  that 
of  the  accredited  age  of  the  firm  advertising.  Its  traditions  go 
back  to  such  and  such  a  period,  and  by  this  means,  the  modern 
generation  is  made  aware  of  the  firm  foundation  upon  which  the 
product  is  built.  In  practically  all  of  the  campaigns  herein 
described,  the  history  theme  has  been  used  in  a  connected  series, 
each  advertisement  taking  up  some  one  episode  which  could  be 
properly  related  to  the  article  and  its  arguments. 

1.  The  Brunswick-Balke-Collender  Company,  Makers  of 
Billiard  Tables  and  Equipment. — The  campaign  of  closely  related 
pages  sought  to  reawaken  popular  interest  in  the  game  itself, 
which  seemed  on  the  point  of  dying  down  a  bit.  Moreover,  the 
advertiser  sought  to  correct  a  misconception  of  biUiards  which 
had  always  retarded  sales.  A  surprising  number  of  people  look 
upon  the  game  with  suspicion  and  disapproval,  as  being  allied 
with  the  pool  room  atmosphere.  Every  advertisement  in  the 
series  not  only  illustrated  the  modern  player,  as  seem  at  clubs 
or  in  private  homes  but  also  made  a  feature  of  a  parallel  picture 
drawn  from  history. 

It  is  said  the  game  of  billiards  was  introduced  to  both  France  and 
ICngland  when  the  Knights  Templar  returned  from  their  first  or  second 
Crusade  in  the  Holy  T^and. 

This  brief  paragraph  permits  the  artist  to  draw  a  colorfully 
interesting  picture  of  the  costumed  days  of  long  ago,  the  knights 
on  horseback  and  the  cheering  crowds.  This  campaign  has 
linked  its  product  with  a  long  list  of  historical  incidents. 

2.  The  C.  R.  Wilson  Body  Company,  Manufacturers  of 
Automobile    Bodies. — A    representative    picture    shows   a    war 


HISTORY  AS  THE  SUBJECT  MATERIAL 


301 


chariot  of  the  reign  of 
conquerer  of  Babylon, 
grim  war.  In  fact,  the 
brought  back  the  varied 
introduced  atmosphere 
conventional.  As  each 
emphasis  is  placed  upon 


Tiglath  Pileser  I,  king  of  Assyria,  and 
It  is  a  pageant  of  pomp  and  splendor  and 

entire  list  of  magazine  illustrations  has 
canvases  of  other  periods  and  has  thereby 
which  could  depart  radically  from  the 

age  is  visualized  in  etching  technique, 
the  vehicular  ideas  of  those  days. 


The  advertiser  states  the  ornate  war  chariot  of  Tiglath  Pileser  I, 
seemed  the  height  of  wheeled  splendor  and  glory.     But  all  the  king's 


Swift  &  Company,  U.  S.  A. 


Fig.  200. 

Left.- — Persistently,  through  an  entire  campaign  which  has  taken  on  the  spirit 
of  a  history  of  all  America,  Swift  &  Company  find  ingenious  advertising  parallels. 

Right. — The  Prudential  departs  from  average  illustrations  and  copy  themes, 
in  order  to  use  the  historic  as  a  background.  A  student  of  the  ages  has  dis- 
covered a  fine  series  of  business  lessons.  The  pictures  were  in  full  color,  "book 
style." 

horses  and  all  the  king's  men  could  not  give  him  a  fraction  of  the  comfort 
and  luxury  built  into  modern  coachwork  by  Wilson  craftsmen. 

3.  Swift  &  Company,  Packers. — Every  great  industry  is 
apparently  compelled,  sooner  or  later,  to  explain,  defend  and 
demonstrate  its  position.  It  is  a  public  habit  to  question  the 
motives  of  national  business  institutions,  as  soon  as  they  reach 
sizable  proportions.     In  the  case  of  Swift  &  Company,  a  campaign 


302 


ILLUSTRATION  IX  ADVERTISING 


was  designed  to  compare  quietly  and  impressively  modern  condi- 
tions in  the  meat  business  with  conditions  which  existed  long 
ago,  and  by  so  doing,  impress  upon  people  the  things  which  system 
and  modern  business  have  made  possible.  History,  therefore, 
as  an  advertising  background  was  a  matter  of  legitimate,  subtle 
reasoning.  Canvas  after  canvas  appeared  during  the  period  of 
this  campaign,  all  of  them  studiously  correct  as  to  detail  and 
invariably  filled  with  dramatic  interest.  An  old  paddle  wheel 
steamer  of  the  river  type,  taking  on  passengers  and  cargo; 
Robert  Cavelier  de  la  Salle,  discovering  a  new  France  in  the 


■^%l 

This  will  be  the  Gate  of  Empire, 
■  this  the  Seat  of  Commerce " 

Swift  &  Company.  U.  S.  A. 

<t^^ 

^^:^ 

Fig.  201. — Another  picturesque  example  of  how  Swift  &  Company  has  made 
history's  impressive  pages  assist  in  embellishing  an  instructive  campaign. 

Mississippi  Valley ;  ragged  soldiers  of  Revolutionary  days,  crouched 
around  their  camp  fire  during  the  bitter  days  and  nights  of 
Valley  Forge:  these  and  innumeralilc  other  pictures  have  been 
unrolled  for  the  public,  illuminated  by  dignified  text  which  in 
every  case,  drew  the  contrast  already  mentioned.  Consider 
the  last-named  theme,  for  example: 

Although  the  land  for  wliich  thoy  fought  abounded  in  supplies,  gaunt 
hunger,  amounting  at  times  to  famine,  dogged  the  marches  of  the  soldiers 
of  the  Revolution  and  brooded  about  their  long  encampments,  for  seven 
heavy  years. 


HISTORY  AS  THE  SUBJECT  MATERIAL  303 

There  was  enough  beef,  pork,  mutton,  in  the  Colonies  to  meet  all  their 
needs,  but  no  established  way  of  getting  it  to  them;  no  system,  no  organ- 
ization, no  centralized  depots;  only  scattered,  uncontrolled  and  unrelated 
resources. 

Farmers  brought  their  cattle  to  villages  and  towns  when  they  wanted 
to.  Herdsmen  drove  the  animals  off  to  the  nearest  front,  where  they  were 
dressed  on  the  spot  and  consumed  at  once.  Little  local  butchers  drib- 
bled pork,  ham,  and  bacon  into  camp  intermittently,  with  no  regard  to 
regular,  steady  needs.  When  the  army  stayed  long  in  one  place,  it 
drained  the  district.     Civilians  had  to  go  without. 

And  from  this  point  on,  the  text  compares  the  methods  of  those 
days,  with  the  system  and  orderly  conduct  of  this  generation, 
even  when  a  great  war  is  in  progress. 

4.  Colgate  and  Company,  Cashmere  Bouquet  Soap. — The 
spirit  and  traditions  of  the  product  date  back  to  the  period  when 
samplers  and  flower  water  colors  were  the  fashion  and  when  hair 
was  worn  up  and  skirts  were  worn  down.  The  very  name 
suggests  quaintness  and  spinning  wheels,  and  a  campaign  was 
planned,  therefore,  which  should  provide  exactly  this  charming 
atmosphere.  The  people  and  the  customs  of  the  era  come  to 
life  in  delightful  full-color  illustrations,  many  of  them  by  the 
noted  artist,  Arthur  Rackham. 

5.  The  Prudential  Insurance  Company  of  America. — By  link- 
ing certain  historical  episodes  with  the  business  of  insurance,  a 
thoroughly  original  campaign,  covering  one  entire  year,  was 
unfolded.  It  differed  from  those  just  mentioned,  however,  in 
that  a  humorous  turn  was  given  both  to  pictures  and  text. 

If  there  was  one  ancient  Athenian  who  was  in  hot  water  all  the  time 
it  was  Pericles.  His  troubles  seemed  to  be  in  living  a  thousand  years 
before  his  day.  And  in  a  day  when  folks  still  believed  in  Olympian 
Gods,  dragons,  flying  horses,  this  was  some  trouble. 

Pericles  was  the  first  real  man  with  a  vision.  He  peered  into 
the  coming  centuries;  but  he  couldn't  get  his  neighbors  to  peer 
with  him.  Every  once  in  a  while  he  would  stop  peering  long  enough  to 
win  a  war  or  two  and  then  he  would  be  carried  about  on  his  countrymen's 
shoulders. 

But  the  next  day  some  rival  would  say  Pericles  had  done  wrong  in 
fighting  and  down  would  bump  the  hero.  Then  a  week,  or  two  afterward, 
he  would  be  empowered  to  build  a  Parthenon  or  Acropolis,  and  when  he 
would  get  about  half  way  through  another  jealous  adversary  would 
kick  about  the  cost. 


304 


ILLUSTRATION  IX  ADVERT  I  SI  XG 


Man's  first 
roof 

—ami  liii  latest! 


Genascoshlngtes 


TmlM,  i 

lillilson  built  ^odij 


#       The  First  Western  Migration 

■  wrr.r  ^--":;  -■  •  -  ■        ■ 


Swift  &  Company.  U.S  A. 


Fig.  202. 

Upper  Left. — A  comparison,  aptly  made,  between  "Man's  Fir.st  Roof"  and 
the  modern  methods.  Campaigns  of  this  typo  permit  the  advertiser  to  "get 
away  from  the  monotony  of  conventional  illustrations." 

Upper  liight. — Characteristic  of  a  notable  series.  The  modes  of  travel 
of  historical  days  are  pictured,  one  by  one  and  with  painstaking  skill.  It  is 
shown  that  the  modern  motor  car  overtops  them  all. 

Lower  Left. — Swift  &  Company  conducted  for  more  than  a  year  a  remarkable 
campaign,  wherein  was  depicted  the  historic  Ijackground  of  America;  its  grim 
suffering  and  its  heroic  sacrifices.  Yet  it  all  interlocked  with  a  legitimate 
busiiu'.ss  message. 

Lower  liiyht. — The  very  name  and  character  of  the  i)roduct  invites  the  use  of 
quaint  costumes  and  the  art  atmosphere  of  delicately  fragrant  days  of  romance. 
This  beautiful  canvas,  original  in  full  color,  is  by  the  noted  artist,  Arthur 
Rackham. 


HISTORY  AS  THE  SUBJECT  MATERIAL  305 

"Pericles  is  wasting  your  money,"  would  be  the  cry  in  the 
market  place  and  a  million  or  so  Greeks  would  hasten  to  the  door  of 
Pericles'  home  and  threaten  him  with  tar  and  feathers. 

"All  right,"  he  would  reply  to  the  onslaught,  "let  the  cost  go  not  to 
your  account  but  to  mine,  and  let  the  inscription  on  the  Parthenon  stand 
in  my  name  as  a  living  heritage  to  my  wife  and  children."  The  glory  of 
his  great  work  soon  soothed  the  multitude  and  he  was  allowed  to  proceed 
and  leave  to  us  a  world-marvel  of  architecture. 

And  now,  at  the  very  end,  the  moral,  the  lesson,  the  real  excuse 
for  the  illustration: 

The  last  years  of  his  life  were  the  hardest.  He  worked  out  a  Family 
Budget,  the  first  in  history,  perhaps,  and  again  the  men  of  Athens  com- 
plained when  he  suggested  they  all  try  it. 

"It  is  as  it  is,"  said  Pericles,  and  added,  "while  I  am  here  my  family  is 
safe;  when  I  am  gone  they  cannot  live  on  my  work  alone." 

Is  there  not  a  life  insurance  point  to  this?  Is  it  sufficient  for  any  man 
to  leave  only  a  reputation  for  greatness? 

Also  in  full  color,  these  Prudential  pictures,  although  irre- 
proachable as  to  constuming,  character  study,  and  background, 
are  given  a  slight  humorous  quality  which  makes  them  all  the 
more  relishable. 

6.  Towle,  Manufacturer  of  Silverware. — During  the  popular 
regime  of  plated  ware,  this  advertiser  wished  to  impress  upon 
people  tlie  value  and  the  historic  traditions  of  solid  silver.  In 
a  connected  series,  a  campaign  traced  back  the  lure  of  pure  silver 
to  its  very  inception,  back  to  primitive  man,  discovering  silver 
in  his  cave  home,  and  on  through  the  ages,  until,  at  the  end  of  the 
series,  the  modern  household  and  atmosphere  was  introduced. 

7.  Balding  Brothers  &  Company,  Silk  Fabrics,  Embroidery  and 
Spool  Goods. — Women  were  to  learn  of  the  historic  legends  of 
silk  and  of  the  part  it  has  played  in  the  passing  of  the  ages. 
Imagine  an  illustration  based  on  this  text: 

The  Florentine  merchant  guaranteed  his  silks  with  his  personal  safety. 
When  Lorenzo  the  Magnificent  ruled  in  Florence,  noblewomen  chose 
their  gowns  from  silks  displayed  by  command  in  their  private  apart- 
ments. The  prosperity  and  even  the  personal  security  of  tradesmen 
depended  upon  the  favor  of  these  powerful  patrons.  The  Florentine 
merchant  may  be  said  to  have  guaranteed,  with  his  life,  the  quaUty  of  his 
fabrics. 


306 


ILLUSTRATION  IN  ADVERTISING 


c 


111-    !■!  1  iRI-  \  I  IM      Ml  RlH  ^\  I" 
' .  I    \ k  A  \  I  I   I   1 1  1 1  1 \  -  II  K  ^ 

\M  I  M    1  lis    IT  K-i  .\  \l     ,  \M-  I  ■! 


Well  J,r.«,( 

11   Ihr 

w«4vll^:  ' 

anj  the  r.jn'i      1 
u.r41.icr  .1  q^jlity 
tfcncmc. 

ar.  .MIkK 

-  ""■"' ' 

''.:".  "1.1 1 

Id  dn-  IkldiVk  StIK 

tr,  .h..r.  t. 

«. 

ft.'<«  ^' 

.,.er.iv-/. 

*«/  ff>.^/«.i7,  Vt* 

"^f  3  e  [dings 

^Jabncs.  6mhrmckni.  S/hxjISiII^ 


On  this  old  balcony 
Washington  was  niadf  president 


NEXT  to  Independence  Hal!  in  Philadilphia  stands 
the  Uaidly  Ic^s  famous  Congress  Hall.  One  of  th« 
t(  3tures  of  Ihc  latter  huildme  is  .i  balcony  of  wrought 
iron,  as  simple -and  unpretentious  as  the  edifice  it* 
adorns.  But  many  arc  the  great  events  this  little 
ba)rony  has  seen  in  its  long  life,  among  them  being 
Washington's  second  inauguration  as  President. 

Tunc  has  trcjite<1  kir.dly  lhi»  b«>cvny  which  it  uUlcr  than  the 
i.Miiod  Stuic*  of  Aineric*  A  century  iv\d  a  half  of  itonn  and 
ill  have  left  f«w  tracet  to  nw»rk  the  posaine  <if -Uie  yean.  Nor 
1-  this  Ntranse  when  we  rcraembcr  ihe  ruat-misltng  qtuilitiet  of 

A--<iK>»t -.ron. 

li  v;>cafyinE  Reading  GciiumeWroufthl  Iron  Pipe,  the  Uierknowt 
>'•  he  u  ertline  «  lti»tinK  pipe  at  reasonable  eott.    At  not  much 
I-  r-  than  the  price  af  steel  pipe.  RepitinK  givti  item  n*-.>  t^-  tlirce 
iKs  longer  »cfviet—lwoor  three  times 
, ) '.  ^ter  prulect-on  attainit  Icuks  that  will 
-Dioly  meiin  citpenvive  repairt  and  tn»y 
-.  j-.iU  ill  wrious  property  damage. 


Fig.  203. 

Left.- — ^The  serialized  lii.storical  series  has  been  followed  l)y  a  .silk  house,  in 
order  to  add  point  to  a  modern  method  of  being  very  sure  as  to  the  (luality  of  the 
product  and  its  selection. 

liiahl. — Ordinarily,  any  illustration  connected  with  a  product  such  as  wrought 
iron,  would  not  carry  allurement  to  the  average  reader.  But  by  showing  how 
wrought  iron  has  hi.sietl  through  many  generations,  the  Reading  Company  gives 
its  advertising  inviting  warmth  and  color. 


HISTORY  AS  THE  SUBJECT  MATERIAL  307 

And  how  nicely  is  the  historial  theme  woven  with  the  modern : 

Well-dressed  American  women  of  today  choose  their  silks  in  groat 
shops  far  from  the  weaving  looms.  The  personal  responsibility  of  the 
medieval  guildsman  is  replaced  by  the  good  faith  of  the  modern 
manufacturer. 

8.  Associated  Furniture  Manufacturers  of  Grand  Rapids. — A 

series  combining  today  and  historical  periods  in  the  matter  of 
craftsmanship  and  price  taken  in  various  lines  of  work.  In  every 
individual  piece  of  advertising,  the  strongest  foreground  pictorial 
theme  shows  a  Grand  Rapids  specialist,  an  artisan,  at  his  modern 
tasks.  And  the  background  theme,  faint,  hazy,  atmospheric, 
takes  up  crafts  which  are  centuries  old: 

Centuries  ago,  when  haughty  Venice  ruled  the  Seven  Seas,  the  fame  of 
her  marvelous  glass  makers  was  as  far  reaching  as  her  own.  To  possess 
an  exquisite  bit  of  Venetian  glassware  was  the  boast  of  princes.  She 
was  as  famed  for  glass  as  Damascus  for  swords  or  Bagdad  for  rugs.  She 
had  joined  that  proud  roll  of  cities  whose  workmen  knew  how  to  do  one 
thing  supremely  well. 

And  Grand  Rapids,  it  is  pointed  out,  belongs  in  this  same 
classification.  The  illustrative  features  of  such  a  series  may  well 
be  imagined. 

9.  Reading  Iron  Company. — A  series  of  historical  interest  and 
power,  based  wholly  on  the  idea  of  generations  of  wear.  The 
artist  paints  the  memorable  scene  of  Washington  surrounded  by 
his  admirers,  on  a  quaint  old  balcony: 

On  this  old  balcony  Washington  was  made  President.  Next  to 
Independence  Hall  in  Philadelphia  stands  the  hardly  less  famous  Con- 
gress Hall.  One  of  the  features  of  the  latter  buildmg  is  a  balcony  of 
wrought  iron,  as  simple  and  unpretentious  as  the  edifice  it  adorns.  But 
many  are  the  great  events  this  little  balcony  has  seen  in  its  long  life, 
among  them  being  Washington's  second  inauguration  as  President. 
Time  has  treated  kindly  this  balcony  which  is  older  than  the  United 
States  of  America.  A  century  and  a  half  of  storm  and  sun  have  left 
few  traces  to  mark  the  passing  of  the  years. 

And  an  insert  pictures  the  old  wrought  iron  balcony  as  it 
appears  today. 

10.  Stephen  F.  Whitman  &  Son,  Candy  Makers. — This  is  a 
Philadelphia  institution,  and  one  of  its  most  precious  adver- 
tising assets  is  its  memorable  record  over  a  long  period  of  years. 
It  is  rooted  in  history,   indeed.    There  are  pages,   sketchily 


308 


ILLUSTRATION  IN  ADVERTISING 


rendered  in  pencil  and  reproduced  by  means  of  the  highlight 
half-tone  process,  showing  the  coaches  and  quaint  streets  and 
attractive  costumes  of  the  days  that  are  past  forever: 

In  Society  since  1842.  We  like  to  think  that  the  growth  of  Whitman's, 
from  the  little  shop  in  Philadelphia  in  the  time  of  President  Tyler,  is 
due  to  the  bed-rock  devotion  to  quality,  on  which  this  business  is  founded. 

From  the  fair  shoppers  in  1842,  drawn  in  quaint  Victorias,  who  called 
at  the  Whitman  shop,  it  is  a  far  cry  to  the  thronging  tliousands  who  now 


Fig.  204. 

Left. — A  serial  story  in  pictures  was  used  by  this  manufacturer  to  relate  the 
highly  dramatic  story  of  silver,  from  man's  first  discovery  of  it,  down  to  the 
modern  time. 

Right. — The  combining  of  two  themes — ancient  and  modern,  in  an  admirable 
historic  series.  The  foreground  subjects  present  the  modern  worker,  while  the 
backgrounds  are  based  upon  historic  craftsmen  and  their  specializations. 

buy  Whitman's  in  every  town  in  America.  In  stage  coach  days,  folks 
from  New  York,  Boston,  and  Richmond  always  took  home  Whitman's 
when  they  visited  Philadelphia. 

Single  advertisements,  each  an  independent  unit,  are  just 
as  interestingly  based  upon  some  historic  scheme.  A  modern 
roofing  may  compare  its  product  with  "Man's  First  Roof,"  a 
cave  in  the  rocks,  hollowed  by  the  drip  of  ages,  the  damp  stone 
as  a  ceiling;  or  a  manufacturer  of  an  electrical  product  may  as 
easily  have  a  canvas  made  of  the  primitive  fires  of  ancient  Rome, 
the  fires  of  the  African  native,  the  burning  torches  of  strange 
oriental  races,  now  but  a  memory. 


CHAPTER  XXVII 
THE  PHOTOGRAPHIC  ILLUSTRATION 

Photography  in  commercial  illustration  has  made  rapid  strides 
chiefly  because  of  the  advertiser's  urgent  demand  for  intensive 
realism.  That  a  photograph  does  not  exaggerate  and  that  it 
brings  absolute  conviction  summarizes  this  demand.  Drawn  illus- 
trations permit  of  "faking"  and  of  calculated  misrepresentation, 
if  the  advertiser  seeks  subterfuge.  Professional  photographers 
smile  at  the  thought  that  the  camera  cannot  lie.  For  so  expert 
have  they  become  that  as  much  license  may  be  taken  with  the 
camera  as  with  the  pencil,  pen,  or  brush. 

There  are  numerous  technical  ways  of  arriving  at  superimposed 
negatives,  double-exposures,  patching  on  the  plate,  retouching 
which  defies  detection,  trick  perspectives,  and  a  manipulation 
of  subjects  in  making  copy.  One  advertising  design  may,  in 
other  words,  be  made  of  remnants  of  several  separate  prints. 
A  man  with  his  head  in  the  clouds  can  be  made  to  stride  down  a 
miniature  street,  yet  both  are  photographic  and  it  is  impossible 
to  find  where  the  dovetailing  has  been  achieved.  Indeed,  com- 
mercial photography,  in  its  modern  application  to  advertising, 
is  a  theme  worthy  of  a  volume  in  itself,  and  no  more  than  a  few 
interesting  developments  and  generalizations  are  attempted  here. 

The  camera  comes  to  the  aid  of  the  advertiser,  as  a  bringer  of 
verities  and  realities.  The  public,  many  advertisers  believe, 
trusts  the  illustration  which  is  obviously  a  slice  of  real  life.  The 
marked  popularity  of  rotogravure  sections  with  their  panoramic 
cross-sections  of  the  passing  human  show  has,  to  a  degree, 
increased  the  value  of  camera  studies  for  commercial  purposes. 
Once  the  drama  of  the  days  was  interpreted  by  the  artist  by 
means  of  sketches  "drawn  on  the  spot."  The  modern  idea  is 
realism  and  photographs  of  news  events. 

The  suggestion  has  been  made  that  before  long,  photographs 
will  be  used  almost  exclusively  for  advertising  purposes.  Whereas 
photographs  are  invaluable  for  certain  purposes,  any  too  general 

309 


310 


ILLUSTRATION  IN  ADVERTISING 


use  of  them  would  prove  monotonous,  just  as  the  employ nient  of 
any  one  technique  or  any  one  medium  would  strip  advertising  of 
the  individuality  which  is  essential  to  its  success. 


66 


(^ 


C  this  trade  mark  is  an  assurance  otgooO 

Icookinq.ijooO  hakiiuj.  enOurinq  service 

a  lu^  thorough  satisfaction  "Wear-Ever" 

metal  is  not  only  thick  hut  rcnuvkahhj  hard 

ear-Ever 

Aluminum  Cooking  Utensils 


99 


-    / 


J> 


Fig.  205. — Just  to  prove  that  so  ronmienial  .a  suhjcct  as  a  man  iioiiiting  at  a 
product  can  be  given  artistic  merit. 

The  commercial  photographer  has  perfected  numerous  valuable 
techniques,  which  bring  to  campaigns  individual  qualities  of 
art.     By  expert  vignetting  and  retouching,  some  photographs  are 


THE  I'HOTOaRAPIIIC  ILLUSTRATION 


311 


made  to  take  on  many  of  the  attributes  of  original  drawings. 
There  are  soft  and  highly  artistic  compositions,  and  so  subtle 
in  their  atmosphere  that  they  vie  with  the  painter  and  his  canvas. 
The  camera  is  in  the  modern  sense  somewhat  of  an  artist,  under- 
taking the  most  ambitious  combinations  of  effects.  Many  studies 
baffle  detection  as  photographs. 


mi^^sms^xM-c. ,-  -.mf^T^s^^s-zi::  ^^.mssmmai 


^ . '/h  i^/'urpUUs^ahei cV^lattrcss 


Fig.  206. — A  very  beautiful  example  of  the  uncommercial  photograph. 
Models  skilfully  selected  and  lighting  made  to  serve  a  most  artistic  turn.  It 
is  almost  a  "painting." 

The  photographer  paints  with  his  camera.  By  his 
resourcefulness  and  his  ambitious  research  work  he  has  thus  digni- 
fied his  profession.  As  much  preliminary  work  takes  place 
today  in  the  making  of  a  photographic  illustration  of  the  better 
kind  as  in  the  production  of  an  original  canvas.  The  studio 
specializing  in  commercial  photography  is  a  place  of  many  mar- 
vels. Here  are  assembled  accessories  which  enter  into  the  pro- 
duction of  art  prints  of  every  imaginable  character. 


312 


ILLUSTRATION  W  ADVERTISING 


In  a  sense,  it  is  not  unlike  a  motion  picture  studio  or  the  place 
where  props  are  stored  for  theatrical  enterprises.  On  short 
notice,  almost  any  required  atmosphere  may  be  secured. 
Arrangements  are  made  with  large  department  stores  whereby 
some  props  are  secured  for  the  time  necessary  to  make  the  illus- 
tration.    A   kitchen   interior   is  required.     For  this  there  are 


"What  a  whale  of  a  difference 
just  a  few  cents  make!" 


r — all  the  difference 

iH-twccn  just  an  ordinnry  ci);areiie 
and— lATlMA.  ilie  most  skillful 
bti-ud  ill  cig.ircttr  history. 


Fig.  207. —  Model  so  posed  that  a  postery  shadow  is  thrown  against  the  wall, 
thereby  Riving  the  effect  of  an  original  drawing.  The  camera  made  to  do 
the  work  of  an  artist. 

painted  backdrops  of  certain  details  or  actual  woodwork  and 
walls,  and  only  a  kitchen  cabinet  of  recent  design,  a  gas  stove,  and 
a  set  of  cooking  utensils  perhaps  need  to  be  collected. 

The  range  of  requirement  is  as  wide  as  there  are  subjects,  from 
the  reception  halls  of  a  palace  to  a  farmhouse  pantry.  Just  as 
a  motion  picture  art  director  would  assemble  the  materials  for 


THE  PIIOTOCRAPIIIC  ILLUSTRAriON 


313 


a  set,  so  does  the  modern  commercial  photographer  keep  informed 
on  possible  markets  for  supplying  his  accessories. 

In  the  making  of  still-life  studies,  the  art  of  photography  has 
reached  its  highest  degree  of  efficiency.  A  bottle  of  listerine  side 
by  side  with  a  sliced  onion  can  be  made  beautiful  by  scientific 
lighting.  But  no  passive  photographer  could  arrive  at  such 
results.  The  new  type  of  camera  artist  is  first  the  artist  and 
then  the  technician.  He  plans  effects.  His  brush  is  the  lens 
and  his  pigment  light. 

How  an  advertiser  should  go  about  achieving  these  better 
results  for  a  campaign  is  to  be  illustrated  by  the  camera.     The 


Fig.  208. — If  there  is  one  thing  the  modern  advertising  i^hotographer  under- 
stands, it  is  the  value  of  artistic  backgrounds  and  accessories.  The  loaf  of 
bread  and  its  sliced  pieces  is  made  into  a  "painting." 


most  common  practice  and  certainly  the  safest  is  to  have  a  rough 
pencil  sketch  made  of  the  subject  material  and  its  grouping,  as 
it  applies  to  the  advertising  story  and  the  arbitrary  space  to  be 
used.  The  photographer  works  from  this  floor  plan,  but  need 
not  slavishly  follow  it.  It  may  serve  only  a  practical  hint, 
in  order  that  he  may  not  deviate  too  far  from  what  is  called  for 
by  the  space  and  by  the  copy. 

Then  again,  the  same  result  can  be  obtained  by  calling  the 
photographer  into  conference  and  discussing  with  him  the  idea 
which. is  sought.  That  he  will  work  most  successfully  when  his 
personal  ideas  are  not  thumbed  down  is  obvious.     He  will  more 


314  ILLUSTRATION  IN  ADVERTISING 

than  likely  think  of  compositions  and  accessories  which  the 
advertiser  has  overlooked. 

The  product,  rather  inartistic  in  itself,  where  a  still  life  is 
wanted,  can  be  made  to  appear  alluring  through  the  use  of  correct 
background  material.  This  association  of  ideas  and  tangible 
assets  in  the  way  of  art  props  is  beneficial  to  the  product. 


Fig.  209. — Some  very  ingenious  results  are  obtained  with  the  camera  as  this 
unique  illustration  for  underwear  fabric  proves.  Model  and  retouching  on  the 
plate  give  an  effect  ocjual  to  the  imaginative  artist's  most  resourceful  results. 

Lighting  becomes  a  paramount  consideration,  A  shadow,  a 
reflected  high  light,  a  deepened  value,  or  a  mingling  of  soft  tones- 
may  mean  the  difference  between  rank  conuncrcialism  and  the 
delightfully  artistic.  And  to  arrive  at  these  resuhs  the  studios 
are  equipped  with  batteries  of  artificial  lights  so  rigged  that  any 
desired  angle  or  concentration  of  ray  can  be  secured.  There 
are  colored  screens  as  well,  as  in  motion  picture  photography, 
which  produce  reflected  lights  or  intensify  direct  lighting.  The 
paraphernalia,    therefore,   is   complicated   and   the   mechanical 


THE  PHOTOGRAPHIC  ILLUSTRATION 


315 


exactions  many.  Since  so  much  of  this  work  must  be  produced 
indoors  under  artificial  Hght,  the  assignments  often  call  for 
a  superior  knowledge  of  many  elements  apart  from  the  camera 
itself. 

Commercial  photography  now  utilizes  character  models  for 
human  interest  illustrations.  One  studio  has  a  roster  of  over  1,000 
names,  and  few  of  these  are  of  the  so-called  professional  model 
type.  An  advertiser  must  show  the  photographic  study  of  a 
policeman,  a  fireman,  a  puddler  from  a  steel  foundry,  a  newsboy, 
a  politician,  a  tramp,  a  pretty  little  girl,  a  brickmason.     In  the 


Fig.  210.      Only  a  hand   and   a  door,   l.iii   \<y  skilful  manipulation,  the  photog- 
rapher has  given  the  effect  of  an  original  painting. 

old  days  it  was  customary  to  costume  the  professional  model, 
and  let  it  go  at  that. 

The  modern  idea  is  less  superficial.  These  characters,  one  and 
all,  are  drawn  from  real  life  and  pose  unaffectedly  before  the 
studio  camera.  It  is  this  lack  of  affectation  which  makes  such 
types  convincingly  real  in  the  advertisement. 

The  policeman  finds  time  away  from  his  beat  to  enter  into  the 
spirit  of  a  certain  story.  The  little  girl  in  a  dainty  white  party 
dress  is  no  professional  model,  but  a  child  from  an  average  home. 
The  stonemason  gives  to  the  campaign  the  individualism  which 
bis  life  work  has  engraved  in  his  face  and  figure.     These  char- 


316 


ILLVSTTiAriOX  IX  ADVERTISING 


acter  studies  no  longer  have  a  stilted  and  artificial  look,  for  the 
very  reason  that  they  are  genuine. 

As  an  impressive  instance  of  how  the  modern  commercial  pho- 
tographer operates,  a  manufacturer  of  radio  receiving  sets  posed 
models,  in  a  series  of  scenes,  who  were  "listening  in"  on  radio 
programs  and  the  camera  was  concealed. 

No  worse  thing  can  be  said  of  a  photographic  illustration  than 
that  it  looks  posed.  For  then  it  actually  defeats  its  own  most 
important  purpose.  The  reader  is  conscious  of  an  artificially 
manufactured  picture,  posed  and  primped  for  the  specific  purpose 
of  selling  goods.  This  atmosphere  should  never  creep  into  the 
campaign   which   is   illustrated   by  means   of  the   photograph. 


Fig.  211. 
Left. — The  Kodak  very  properly  creates  its  own  advertising  illustrations. 
Right. — Who  would  suppose  that  an  onion  and  a  bottle  of  Listcrinc  could  be 
made  into  an  altogether  charming  photograph. 


The  reader  of  an  advertisement  does  not  react  favorably  to  a 
message  when  it  is  too  apparently  commercial.  The  trick  photo- 
graph is  always  interesting  and  often  quite  inexplicable  to  the 
person  who  is  unfamiliar  with  what  has  gone  on,  back  of  the 
scenes,  to  arrive  at  certain  results. 

An  executive  is  shown  at  his  desk — a  man,  camera  perfect  in 
every  detail.  On  the  blotter  pad  before  him  stand  a  dozen  or 
more  tiny  figures.  They  are  in  miniature,  but  they  are  also 
photographic  as  to  art  technique.  The  man  at  the  desk  looks 
down  at  them,  studying  them  with  analytical  care.  It  is  an 
illustration  which  has  to  do  with  the  selection  of  employees. 
Here  is  a  giant  among  Lilliputians,  all  in  one  photographic  print 
and  presented  with  startling  realism.     How  is  it  accomplished? 

There  are  several  methods,  but  perhaps  the  easiest  is  to  patch 
separate  prints.  The  studies  are  taken  at  different  times  and 
under    different    circumstances,    although    a    common    lighting 


THE  PHOTOGRAPHIC  ILLUSTRATION 


317 


scheme  may  have  been  followed  in  order  to  keep  the  composition 
consistent. 

The  print  of  the  man  at  the  desk  is  mounted.  Then  the  small 
figures  are  silhouetted  with  knife  or  scissors,  the  edges  of  the 
paper  bevelled,  and  the  group  mounted  in  with  paste  or  rubber 
cement  in  any  position  desired,     A  minimum  amount  of  retouch- 


FiG.  212. — A  hat  advertised,  but  the  character  study,  as  interpreted  by  the 
camera  man,  overtops  it,  and  the  entire  illustration  becomes  a  most  artistic 
representation. 

ing  provides  copy  which,  when  the  plate  is  made,  defies  the  most 
critical  and  exacting  eye.  It  has  the  appearance  of  having  been 
made  all  at  the  same  time.  A  like  result  may  be  achieved  by 
double  exposure. 

It  is  acknowledged  that  the  camera  is  often  too  literal.  Studies 
of  automobiles,  for  example,  may  look  short  and  stubby  in  a 


318  ILLUSTRATION  IN  ADVERTISING 

camera  study  and  therefore  make  poor  advertising  material. 
The  expert  retoucher  cuts  the  print  in  two  parts  and  dehberately 
fills  in  an  area  to  overcome  this  objection  and  the  eye  fails  to  see 
what  has  been  done.  When  the  study  of  a  man  for  a  clothing 
advertisement  has  this  same  defect,  patching  overcomes  it. 

It  is  to  be  understood,  therefore,  that  photography  as  applied 
to  advertising  permits  of  numerous  essential  tricks.  Nor  have 
the  possibilities  been  more  than  touched  upon.  Just  as  the  artist 
seeks  and  finds  new  techniques,  so  is  the  commercial  photographer 
constantly  elaborating  his  profession  by  experimentation. 

The  advertiser  is  impartial;  he  may  use  a  camera  series  one 
season  and  original  illustrations  the  next.  Often  a  basic  idea  for 
a  campaign  demands  the  camera  because  of  the  realism  for  which 
it  is,  and  always  will  be,  famous. 


INDEX 


Acceptance  of  sketches,  6 
Accessories,  214 
Accidental  effects,  133 
Action,  56,  215 

Actual-size  reproductions,  10,  212 
Adopting  art  mediums,  26 
Adventure  themes,  55,  196,  216,  220 
Advertising  characters,  162 
Air-brush,  58 
Allegories,  175,  177,  182 
Animating  the  inanimate,  168,  175 
Arbitrary  forms,  153 
Art  themes  for  series,  272,  281 
Association  of  ideas,  182 
Atmosphere  30,  146 
Attention-compellers,  54,  176,  179 


B 


"Backdrops,"  149 

Background  accessories,  146 

Backgrounds,  general,  151,  152 

Balanced  compositions,  12 

Ben  Day  combinations,  32,  284,  287 

Ben  Day,  general  information,  269, 

282 
Birdseye  views,  110 
Black  as  an  asset,  103,  107 
Borders,  72,  81,  138 
Borders  that  tell  a  story,  73 
Bringing  the  product  to  life,  170 


Commonplace  products  made  inter- 
esting, 22 
Composition,  12,  13,  20 
Concentrating  attention,  169 
Consumer  viewpoint,  25 
Continuity,  34,  40,  307 
Contour,  80 

Contrast,  92,  123,  128,  204,  286,  289 
Copy  "slant,"  238 
Cost  of  illustrations,  14 
Counter  display  compositions,  87 
Counter  display  value,  210 
Crayon  drawings,  272,  275 


D 


Danger  themes,  218,  221 
Designing  the  advertisement,  6 
Detail,  9,  244,  254 
Directing  the  eye,  61,  62,  205 
Display  value,  213 
Distinctiveness,  242 
Dominant  idea,  38,  204 
Dominating  the  space,  20 
Dry-brush  technique,  272,  274,  280 

E 

Economies,  11 

Ehminating  the  non-essential,  132 
Emotional  appeal,  235 
Emphasis  where  needed,  50 
Enduring  ideas,'  233 
Engraving,  26,  154 


Cartoons,  291,  294,  296 

Chalk-surfaced  drawing  board,  259 
Character  study,  224,  315 
Charcoal  technique,  277 
Childhood  studies,  57,  66,  177,  234 
Combination  plates,  59,  281 


319 


Facial  expressions,  49,  56,  221,  225 
Fact  themes,  221 
"Family  resemblance,"  31,  34,  271 
Farm  journal  illustrations,  256 
Feminine  touches,  30,  45,  311 
Figure  compositions,  233 


320 


INDEX 


Figures  as  the  humanizing  touch,  57 

"Figurettes,"  162 

Fine  lines,  129,  131 

"Fixitif,"  277 

Flexible  trade  marks,  159 

Focusing  attention,  127 

Framing  the  text,  76 

G 

"Ghost"  technique,  167,  182 
Glorifying  homely  products,  145 
Graduating  tints,  157 
Grease-crayon,  277 
Groupings,  89 

H 

Halftone  screens,  156,  278 
Halftone  subjects  made   into  line, 

267 
Hand-stippling,  40,  245,  247 
"Heavy"  blacks,  131 
Heroic  size,  120,  127 
Highlighting,  279 
Historical  themes,  299 
Homely    products    beautified,    140, 

249,    266,    316 
Humaji  interest,  187,  233,  240,  236 
Humorous  motifs,  56,  291 


Idealization  in  picture  form,  45,  141 
Ideas  for  the  illustration,  4 
Illastrations  which  require  no  text, 

69 
Illustrative  borders,  72 
Illustrative  style,  248,  250,  251 
Imagination  in  the  picture,  172,  240 
Imaginative  appeal,  136 
Inanimate   objects  humanized,  138, 

140 
"Inference"  illustrations,    185,    187 
Infinite  detail,  45,  246 
Insignias,  159,  160 


Judging  techniques,  26 
Justifying  the  illustration,  2 


Laj^outs,  15 

Light  in  the  illustration,  57,  311 
Light  used  to  animate,  139 
"Look-down"  views,  114 

IM 

Mannerism,  30 

Marginal  areas,  92,  96 

Materials  for  drawing,  11 

Mechanical  shading,  282 

Mediums,  32 

Melodramatic  action,  176,  198,  215 

Models,  232 

Monograms,  163 

Monotony,  35 

Mortises,  77 


N 


Naturalistic    studies,    57    194,    229 
Negative  illustrations,  192,  199 
News  atmosphere,  146 


O 


Objective  of  the  illustration,  2,  4 

Obligations  of  the  campaign,  209 

Obvious  ideas,  214 

Odd  techniques,  107,  133,  284 

Originals,  135 

Outline  style,  128,  133 

Overlays,  288 


P 


Packages,  212 

Papers,  32,  258,  272,  285 

Pedigree,  44 

Pen-and-ink,  46,  242,  268 

Pencil  drawings,  272,  273,  275 

Pen    drawings    from    photographs, 

249 
Perspective,  109,  112,  268 
Phantoms,  165,  166 
Photography,  2,  11,  309 
Plots  for  pictures,  55.  183,  236 


INDEX 


321 


Portraits,  227,  315 
Poster  technique,  206,  210,  312 
Poster  value,  201 
Precision  of  line,  255 
Preliminary  sketches,  6,  11 
Printability,  135,  268 
Product  dominant,  213 
"Pure  outline,"  132 


R 


Realism,  44 

Reduction,  8 

Relation  of  picture  to  text,  190,  195 

Repetition,  271 

Reproduction,  33,  267,  286 

Restraint,  235 

Retouching,  137,  138,  144 

Rough  sketches,  6,  7 


Skeletonized  technique,  132 
Still-life,  151 
Style,  29 

Superimposing,  74 
Symbols,  37,  38,  164,  171 


Techniques,  28,  43,  256,  272 
Tentative  sketches,  9 
Text  as  applied  to  illustrations,  5 
Themes  for  pictures,  23 
Tie-up  with  the  product,  151 
Topical  subjects,  196,  220 
Trade  marks,  75,  159,  162 
Typographical  set-up  as  related  to 
picture,     1 1 


S 


Same-size  sketches,  6 
Saturation  point,  49 
Scenarios,  142,  182,  238 
Scientific  layout,  19 
Segregation,  99 
Selling  idea,  22 
Serialization,  180,  301,  308 
Silhouettes,  105 
Silverprints,  134,  252,  270 


Value  of  white  space,  91,  99 
Vignetting,  153,  158 
Visualizer,  8,  12,  153 
Vogues,  21 

W 

Wash  drawings,  26,  216,  235 
When  to  illustrate,  3 
White  areas,  91,  95,  98 
Wood-cut  techniques,  46,  255 


